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 aububs » Sat May 18, 2019 8:05 pm

they're their own directors with their own styles, she has a subtley and he has a sledgehammer, but imo they work in a similar headspace and i get the comparison, even if it doesn't need to be made at all

it's crazy looking at the other american movies that were released in '99. a lot of them were really good but this was v distinctive
no buddy not really
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Postby Plainsong » Sun May 19, 2019 1:06 am

Dinosauria We wrote:I watched my first Hitchcock movies last night, Rear Window and Psycho. I really loved them both, but especially Rear Window. I've always stayed away from movies of that era for some dumb reason and I have a mind to amend that. I remember seeing Vertigo years ago, but have no recollection of it, so I'll be watching that very soon. What other Hitchcock films are essential? Also anything Hitchcock-adjacent in terms of vibe.

Based on that still alone, I will definitely be seeking out The Killing, too.

In terms of Hitchcock i'd recommend The Lodger: A Story Of The London Fog (1927), Blackmail (1929), The 39 Steps (1935), Secret Agent (1936), The Lady Vanishes (1938). In terms of 50's stuff Strangers On A Train (1951), and Dial M For Murder (1954) are really good.
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Postby forest design » Sun May 19, 2019 2:36 am

nosebleeds wrote:
A WOMAN IN TROUBLE wrote:blackhat rules
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Postby shame dawg » Sun May 19, 2019 5:29 am

Her Smell

The confrontations and verbose monologues felt much better in this ARP as I think someone mentioned before. Bloated and certainly imperfect at times but in the end I didn’t feel that took too much away from the experience. Unless i missed something I found it interesting they never explicitly reveal her early issues are drug and/or mental illness related although you could totally assume either, just didn’t see any on the nose explicit scenes pointing to either. Moss is a force
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Postby Plainsong » Sun May 19, 2019 9:13 am

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The Naked Island (1960)- Kaneto Shindo
Amazing film, loved the detail that was shown of the farmers' challenges, and the cinematography was beautiful.
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Devil's Doorway (1950)- Anthony Mann
This ruled.
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Postby walt whitman » Sun May 19, 2019 1:44 pm

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personal problems- bill gunn

reaaallly good.
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Postby goofy's dead wife » Sun May 19, 2019 2:02 pm

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belly (1998)

i had seen this before long ago but jesus christ i could have watched four hours of this. the ending of it is kindof hokey but i mean it straight up feels like an american wong kar wai film starring dmx nas t-boz and method man. what's not to love. i guess people critiqued it for their performances but i mean . . . given the impressionistic/music video style it's working in it makes perfect sense to use people that are used to filming hip hop videos.

we also watched the pre-tetsuo the iron man shorts and me and yyou and everyone we know. the former was uhh interesting as someone who loves shinya tsukumoto films to death. the latter was one of the worst films i've ever seen but we had an absolutte blast watching itt.

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oh wait, we also watche dkony 2012. it's amazing how well it captures the feeling of going to a state college in the early 2010s. very uneasy feeling.
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Postby futurist » Sun May 19, 2019 11:13 pm

i liked watching this and would love to watch more 90s made-for-tv true crime sensational shit. any recommendations?

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Postby naturemorte » Sun May 19, 2019 11:56 pm

futurist wrote:i liked watching this and would love to watch more 90s made-for-tv true crime sensational shit. any recommendations?

Indictment: The McMartin Trial
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Postby carlagain » Mon May 20, 2019 3:35 am

we had a special Kony assembly at my high school
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Postby carlagain » Mon May 20, 2019 3:43 am

also had a futuretech assembly
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Postby goofjan » Mon May 20, 2019 8:27 am

my gf and I got high and watched Book Club. it wasn't as good as The Jane Austen Book Club.
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby mondrary » Mon May 20, 2019 11:05 pm

thank you landspeedrecord and aububs for the advice!

me and my friends spent a weekend in new hampshire (that culminated in the brakes on my car failing, which wasn't cool), and we watched the quick and the dead on saturday night. it is so absurdly predictable but it was admittedly a lot of fun. there are some completely audacious decisions being made here, mainly the excessive canted angles and weird zoom-ins and the one shot from behind a guy getting shot in the head. also entertaining to see younger russell crowe and super young leo dicaprio.
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Postby Sweet Gregory Pectin » Mon May 20, 2019 11:14 pm

the quick and the dead is grade a certified fun
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Postby walt whitman » Tue May 21, 2019 11:43 am

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them that follow

a religious cult in the woods uses snakes to communicate devotional love to god. loved the snakes and acting. beautiful autumnal appalachia footage, with crisp orange and yellow leaves everywhere. the DP did great work. apparently most folks didn't love this but whatevs
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Postby goofy's dead wife » Tue May 21, 2019 3:21 pm

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mother! (2017)

after watching all of aronofsky's "serious" films in short order i think the thing he's best at is capturing the hell of working retail/service industry jobs. the scene where mickey rourke is working the deli counter in the wrestler were pretty easily my favorite scenes in that film just b/c they hit really close to home & aronofsky's key trick of quickly amping up anxiety maps 1:1 with that experience to me. i feel like the first 2/3 of this film basically work it's way from the creeping feeling of having your living space violated up to that point and idk i was pretty in for the ride in a way i wasn't really expecting based on what most discussions of this film centered around. the "crazy" last 1/3 seemed like something that should've been up my alley but idk maybe it's just because i'm at the tail end of a living situation where i have no idea who else is living in this house, paying rent etc. but like while i appreciated parts of it in theory it was kindof a letdown. come to think of it i was similarly shocked by liking the wrestler so much, when i mostly watch aronofsky films to gawk at how ridiculous/over the top they become. i haven't seen the bunuel films this is cribbing from in awhile but i think it's maybe time.

i feel like aronofsky is sortof like arthouse michael bay. afaict most of his films are like, shameless ripoffs/homages to other, better films but done in a bombastic mainstream hollywood style (i.e. pi = tetsuo the iron man, requiem for a dream was already based on an author who did a pulp calvinist version of william burroughs early novels and it takes most of it's visual pyrotechnics from van sant's drugstore cowboy, the fountain = the romance plot in xenogears, the wrestler = buffalo 66??? [the wrestler is a better film than buffalo 66 a million times over], black swan = the red shoes/perfect blue, mother! = rosemarys baby/end of evangelion/the exterminating angel). i totally get why someone would hate this but i think it lands for my sensibilities if i set my expectations properly.

i really went in dreading this given that i think jennifer connelly's treatment in requiem was exploitative pornographic trash but i felt like that even if this films treatment of lawrence's character oversteps at times it's at the very least conducive to sympathy & while the film is 2 hours of terrible shit happening to her nonstop i don't feel like it ever lingers on it or takes glee in any of the transgressions in the way requiem did. i don't really put aronofsky on a pedestal or anything but i really have to chalk up a lot of what i hate about that film to hubert selby jr. like i don't want to let aronofsky off the hook completely for willingly filming a scene where keith david delivers that line about "paddy chicks giving good brain" or w/e but it feels like 5 million times more hateful and meanspirited than any of his other films.

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300 (2007)

i made my own thread about this but just feel like remarking in this one how much this looks and feels like an independent christian movie in 2019, both visually and subtextually. i had never seen it before but i really wonder how this played in 2007.
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Postby mellowgold » Tue May 21, 2019 9:02 pm

Celiac wrote:Mg, with all due respect to Gloria Bell, you gotta see another movie!


I actually rewatched it tonight. So good everyone should be watching Gloria Bell.
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Postby furrowed brow » Tue May 21, 2019 9:22 pm

I procrastinated on its run at my local arthouse theater. Now I feel like I need some Gloria Bell in my life.
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Postby tricksforchips » Tue May 21, 2019 9:25 pm

Saw mid90s.

That is like a film directed by a guy who watched 3 skate videos and Kids and thought he could make a movie about skating.
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Postby naturemorte » Wed May 22, 2019 1:37 am

exit elena (2011)
shockingly engrossing microbudget indie from Nathan Silver, whose work I haven't seen before. came across this trying to find mumblecore movies about precarity during the great recession. while I do think that's a relevant context (the narrative follows a young live-in nurse who moves in with a family that doesn't understand boundaries, which seems better than nothing), I probably won't include it in my series, but it's one of the better films I've watched in that idiom so far.
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Postby Plainsong » Wed May 22, 2019 5:13 am

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The Only Son (1936)- Yasujiro Ozu
Really liked this.
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The Reckless Moment (1949)- Max Ophuls
This was great, Bennett and Mason both gave great performances. Loved the camera movements in this.
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They Drive By Night (1940)- Raoul Walsh
Great stuff, solid performances by the main cast, the standout for me is Lupino who's intense performance elevates this film to a whole new level.
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Three Outlaw Samurai (1964)- Hideo Gosha
This ruled.
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Postby No Good Advice » Wed May 22, 2019 5:16 am

nice avatar
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Postby Plainsong » Wed May 22, 2019 5:18 am

Same to you.
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Postby No Good Advice » Wed May 22, 2019 9:42 am

ty
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Postby incoherent grunting » Thu May 23, 2019 11:27 pm

guys,
i can't handle it and i think i might die i want to live inside this movie it's too beautiful
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taipei story
"let's get psychic not blacked out. Let's get wild without getting sick. Let's get turnt while staying woke."
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Postby goofy's dead wife » Fri May 24, 2019 12:02 am

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perfect blue (1997)

watched this again because of the numerous references/blatant steals in aronofsky's filmography. i had only seen it once in full before, at a pretty young age at that. i tried to rewatch it in late 2013 having realized i was trans earlier that year and was put off by how the movie they're filming seems to be about "a killer who wants to be a woman", was pretty put off by the potential for transmisogyny and promptly shut it off. luckily, i don't really feel like it dives into waters but i still feel like this films key flaw is making it's antagonists grotesquely ugly parodies. it softens the edge of the films critique of misogyny and the erosion of personal boundaries within the internet and the entertainment industry by making it feel like satoshi kon's self-serving screed against "otakus who need to get laid more". this is a flaw i also find in hideaki anno's treatment of misogyny despite having softened on it a fair deal and now finding ritual and end of evangelion to be two of my favorite films of all time.Toggle Spoiler

a lot is made of black swan's structural integrity and the bathtub scene from requiem being copied from this film 1:1 but i feel like the most illustrating, and underrecognized example of this plagiarism comes in the fictive rape scene. it seems clear to me that the much mocked "ass to ass" sequence from requiem's climax also took great influence from it. the scene in perfect blue is weighty enough to shape the direction of the entire rest of the film, and is treated no less seriously despite it being something that mima "consents" to. whereas when jennifer connelly was asked to enact an analogous scene of questionable consent it's just a meaningless degradation in a film that revels in them for it's entire runtime. speaking of which, the fact that this film manages to accomplish everything it needs to with a 78 minute runtime is pretty darn noble.Toggle Spoiler

it's weird that the internet has become a much more blatantly scary place in the last 22 years but i still find this film and some episodes of serial experiments lain to be the pieces of media that best explore those terrors.

it's great that this has a happy ending. "no, i'm real!" is up there with inland empire's "sweet!" as the most smile inducing ending lines to dense surreal hellrides i can think of.Toggle Spoiler

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robocop 3 (1993)

taken in isolation this is a pretty bad but hilariously goofy last ditch at making a family friendly product outside of something that should have never been franchised in the first place. put into context, it becomes this weird surreal document of lost futures and possibilities. most of the film was filmed on a chunk of auburn avenue in atlanta that was to be bulldozed for the olympics within a few years giving this film the unintentional quality of depicting a hypothetical future atlanta that never hosted the olympics.

so many subplots in this were created from various versions of the script that apparently, some time, some one cared about. there's a random cyborg ninja character that shows up in non sequitur scenes once every twenty minutes or so to remind you that this was, at one point, supposed to be conceptually centered around recreating the hong kong action film for american audiences. a japanese mother has a caucasian child because they couldn't bother to find a female japanese child actor. there are humorless yet well-animated cartoon scenes that seem to suggest nothing about the universe as a whole. robocop is barely in the thing, making you wonder if this script even started out as a robocop property in the first place.

it was an absolute blast to watch in a group of friends and the more distance i get from it the more i feel legitimate sorrow and pity for it. this is going to be something i suggest to throw on in group settings many times in the future, i think.
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Postby furrowed brow » Fri May 24, 2019 10:34 pm

I absolutely loved Perfect Blue when I watched it last fall, but those are some good criticisms.


Little Woods (Nia Dacosta, 2018) - I liked this. It's pretty interesting to make a thriller that largely centers on abortion accessToggle Spoiler as the source of its conflict. I wasn't wowed by it really, but it was definitely a solid film, imo.
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Postby incoherent grunting » Fri May 24, 2019 11:30 pm

Someone talk to me about the cinematography in Taipei Story, I want to make a thread of screen caps but it would simply be the whole movie frame by frame
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Postby dada » Sat May 25, 2019 1:33 am

shame dawg wrote:Her Smell

The confrontations and verbose monologues felt much better in this ARP as I think someone mentioned before. Bloated and certainly imperfect at times but in the end I didn’t feel that took too much away from the experience. Unless i missed something I found it interesting they never explicitly reveal her early issues are drug and/or mental illness related although you could totally assume either, just didn’t see any on the nose explicit scenes pointing to either. Moss is a force


Moss was amazing. Was great to kind of contrast that I had watched star is born a few weeks ago
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Postby aububs » Sat May 25, 2019 1:58 am

i liked this a lot. in the canon of drug/crime/cartel epics it's very distinctive because it's made by people who don't care about the trappings of that genre. imo there is a one-dimensional aspect to the antagonists, and they way they are used/deployed by the movie, which was uninspiring. some of that can be put down to the movie having a sort of fable/myth framework, i think. it's as good as, maybe even slightly more assured than, Embrace of the Serpent. catch on big screen if u can.

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