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 odilon redon » Sun Nov 17, 2019 2:20 pm

but can he dance
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Postby odilon redon » Sun Nov 17, 2019 2:20 pm

is the question
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Postby goofy's dead wife » Mon Nov 18, 2019 4:48 am



safe (1995). my second viewing. some quick thoughts.

1.i think watching superstar: a karen carpenter story immediately before this, and it's framing of anorexia nervosa as an "addiction and abuse of self control, a fascism over the body in which the sufferer plays the parts of both dictator and the emaciated victim who she so often resembles." provided a lens which makes a lot of this film make a lot more sense. "are you allergic to the 20th century?" as a tagline is something that deeply echoes both new age spirituality and literal fascist regimes. and like, militia movement bullshit which stands at the direct intersection of the two. the scene early on where the son is talking about how black and brown gang violence is infiltrating the white areas of la... etc etc. everyone in the camp at the end of the film is united by little more than their disenfranchisement and desperately seeking to take control of their life in any way shape or form. it probably says something bleak that 25 years on from this films release a good chunk of this film's metaphor just feels broadly relatable to anyone existing under capitalism. like, somehow, the point the second half of this film is making does not feel all that dissimilar to the point joker (2019) is making with the clown face activists. but that's the difference between good and bad cinema i guess. anyone here feeling the mercury retrograde???? sagitterarreans are ICKY??!?!?!?! GOOD VIBES ONLY!!!!!!!!! i refuse to hang out with them. jokes aside, they're really films that compliment each other far more than i had realized before.

2.given todd haynes involvement in ACT UP and the widely remarked on parallels between carol's condition and AIDS i'm surprised there are few reviews that make note of the fact that by the time of this films release ACT UP san francisco had splintered into two groups, one of which was literally a new age cult spouting self-help cure bullshit about AIDS. there's something incredibly eerie, in 2019, thinking about how truvada/prep has been propped up as a be all end all cure to queer suffering by medical professionals. a band-aid solution that while being an important invention is something that's severely limited public imagination regarding treating AIDS while keeping sexually active queer populations tethered to an expensive pill for life... idk this is just a film that will sadly never stop being relevant. marianne williamson wasn't just a wacky funny joke and her attitudes towards aids weren't like, inconsistent with her general worldview. i digress.

3.every musical drop in this is stellar and commenting on the themes being presented in oblique yet prescient ways. most notably, off the top of my head, is "heaven is a place on earth" coming directly before carol sees the flyer with the tagline mentioned in the opening paragraph.

4. i think there's a reciprocal lynch influence going on. like, it's not the primary mode that the film is operating in (there was a really dumb argument about this in the favourite thread regarding someone throwing a tantrum over another person calling a single shot 'lynchian' please do not do this here) i legitimately refuse to believe that lynch didn't rip the opening scene of mulholland dr off wholesale from the opening scene in this. but i do really appreciate how this film completely skirts any of the male gaze elements i find icky in his work while making that lens how most male characters in this view the world. this is most obvious in how carol is primarily featured as an element of the landscape, rather than as a person. it was most haunting to me tho in the scene with the son when he's reading his racist school paper and the housekeeper is just sortof tucked away in a corner, desperately trying to not butt in. there are great details packed into almost every single scene here.

5.this film really captures the vibe of 'on the nod and watching ads for rehab centers on comedy central at 3am' like no other film i've ever seen. it's fucked up how todd haynes invented vaporwave in 1995. i don't want to spend more time than is needed on autobiographical elements in here but as someone that's both personally had and been exposed to a lot more terrible experiences that queer people have had with medical professionals since i watched either this or superstar they both were gut punches in that manner. also the scene where the cop literally harasses carol as she's walking around her front yard... fuck. i like this essay that draws parallels between it and the yellow wallpaper.

6.i love this movie!!!!!!!!

(side note: i loved the older shitty dvd rip of this i had initially watched in a way. i feel like the graininess it had to it reminded me of like the visual equivalent of a boards of canada record. but otoh i feel like the criterion blu ray edition of this that has a properly functioning color palette is much stronger. lots of the earlier interior set design reminded me of manhunter in it's shots of mirrors and light blue/green color palette. and the outer shots of the compound reminded me of the texas chainsaw massacre. i guess odd films to think about but they certainly are fitting. i'm really looking forward to watching todd haynes first short on the criterion blu ray before i have to take it back to the video rental place i checked it out from)
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Postby furrowed brow » Mon Nov 18, 2019 5:55 am

Yeah that essay is essential imo.

You hit on most of the stuff this vid covers but I still feel obligated to post Haynes convo with Dennis Lim about the movie:

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Postby palmer eldritch » Mon Nov 18, 2019 6:04 pm

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When You Read This Letter (Melville, 1953)

This was the last JPM feature I hadn't seen. It's a competent but mediocre melodrama though perhaps with a bit more of a nasty undercurrent than usual for the period. Like, closer to Casque d'Or than a typical Melville picture. The ending is very good, however. Daniel Cauchy who would show up again in Bob le flambeur plays the most quintessentially bellhop fucker I ever did see on screen.
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Postby Oranges » Mon Nov 18, 2019 6:12 pm

The Joker sure was overhyped
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Postby palmer eldritch » Mon Nov 18, 2019 6:14 pm

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The Man with a Shotgun (Seijun Suzuki, 1961)

For years this was the unavailable Suzuki film I wanted to see the most. I'm intrigued by the Japanese Western genre, which there are a few of but not necessarily so easy to get a hold of. He's having fun blending American western tropes with a Japanese gangster film, set in the mountains, and there's a man with a shotgun, don't you know. It's fun in a chaotic way (go figure) where it's kind of just a scene followed by another scene until it's time to get serious and wrap up the plot and the whole isn't really the sum of its parts. The duel on the beach at the end though, is very good.
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Postby Kenny » Mon Nov 18, 2019 6:31 pm

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This movie was a trip
Image [PEACE] [LOVE] [UNITY] [RESPECT] ImageImage

You are a sacred being of light projected into reality for a purpose. Demand the right to your moment in this holographic gift with no rules, no borders, except for those who you choose to accept and live by.

Just wanna play videogames all the time and everyday.
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Postby palmer eldritch » Mon Nov 18, 2019 6:42 pm

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Force of Evil (Polonsky, 1948)

I thought it was just ok for the first half or so but it really won me over as the brother character got more screen time. He's so good. Some good location shooting in the second half as well. Really there are 3 or 4 sequences that really sell this movie, foremost the whole diner chat about dying and the ensuing events and the desperation of everyone involved... and the dude checking if his phone is really tapped.
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Postby furrowed brow » Mon Nov 18, 2019 9:09 pm

I liked but didn’t love The Body Snatcher. I felt like the protagonist was irritatingly naive and I feel like the whole thing fails as like a “philosophical film” that it seems to lean into at times. Still liked it alright though, some great performances and it still works well enough as a horror film
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Postby ILM » Mon Nov 18, 2019 11:08 pm

odilon redon wrote:are there any other bogdonavich movies on the tier of tlps


Everybody else's suggestions are spot-on, but I'd also add Noises Off to the list. Terrifically staged and damn funny if you can live with the corniness of it all. Great movie. A rarity in Bogdanovich's later years. At Long Last Love also has to be seen to be believed, if not for the most enjoyable reasons.
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Postby Avalanche Lily » Tue Nov 19, 2019 4:49 am

Idk why I did this to myself, but I'm alone in the house and I went and watched The Descent again.

This has left me ill prepared to descend from the attic and go to sleep.
With slouched hat and guilty eye
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Postby Plainsong » Tue Nov 19, 2019 11:24 am

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Stage Door (1937)- Gregory La Cava
Loved this. Every performance was top notch.
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Stalag 17 (1953)- Billy Wilder
Had its moments but overall didn't get much out of this. William Holden was great as usual though.
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Summer Interlude (1951)- Ingmar Bergman
Heart breaking and an instant favourite.
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Sunday Bloody Sunday (1971)- John Schlesinger
Really liked this. Fantastic performances from Glena Jackson and Peter Finch.
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Swing Time (1936)- George Stevens
Really loved this. Every dance routine in this was better than the next. Astaire and Rodgers' mix of pure technique and beauty really overwhelms me.
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Postby Plainsong » Tue Nov 19, 2019 11:46 am

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Tabu: A Story Of The South Seas (1931)- F.W. Murnau
Loved this.
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Tampopo (1985)- Juzo Itami
Really liked this.
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Tartuffe (1925)- F.W. Murnau
Loved this. Jannings' theatricality is always great to watch.
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Testament Of Orpheus (1960)- Jean Cocteau
Had some interesting moments, but overall it didn't really engage me.
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The Americanization Of Emily (1964)- Arthur Hiller
Loved this. The writing and performances were brilliant.
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The Badlanders (1958)- Delmer Daves
Liked it. Borgnine and Jurado were exceptionally great.
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The Band Wagon (1953)- Vincente Minnelli
Pure joy from beginning to end. Astaire and Charisse were both excellent.
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Postby Plainsong » Tue Nov 19, 2019 11:52 am

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The Red Shoes (1948)- Michael Powell and Emeric Pressburger
Rewatch. Still a god damn masterpiece.
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Postby goofy's dead wife » Tue Nov 19, 2019 11:58 am

like every frame of the killer (1989) is a joy to look at. the trailer is just 4 minutes of nonstop gunshots. it's super homoerotic. sick fuckin movie.

i think the boondock saints probably ripped off it's action sequences more from it than it did tarantino, somehow.
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Postby Plainsong » Tue Nov 19, 2019 11:59 am

goofy's dead wife wrote:like every frame of the killer (1989) is a joy to look at. the trailer is just 4 minutes of nonstop gunshots. it's super homoerotic. sick fuckin movie.

i think the boondock saints probably ripped off it's action sequences more from it than it did tarantino, somehow.

Yeah. The Killer and Hard Boiled are easily my fav Woo films.
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Postby goofjan » Tue Nov 19, 2019 12:03 pm

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Odd Man Out - I really liked this. I guess it's overshadowed a bit by The Third Man, by the same director/cinematographer a couple years later. They're pretty different though. I think Third Man has a little panache and Odd Man Out is way more bleak. This one introduces a bizarre almost comedic tone in the third act and it's a little jarring but then it finds a synthesis with the bleakness and it's just awesome. My gf had some thoughts on the film's politics (or lack thereof) but I'm dumb and don't understand politics so I don't have much to say about that.
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby blurst of times » Tue Nov 19, 2019 12:08 pm

movies i've seen in the past month. all were ones i watched for the first time!

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true stories - for the most part i thought this was lovably odd, but i kind of wished it amounted to more. it felt a little anticlimactic by the time it ended, but i think it's maybe the sort of movie that you revisit to spend time with the characters and inhabit its world. wish david byrne directed more movies!

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tampopo - only saw this a few weeks ago, but i think it's already one of my favorite movies? there should be more movies about food/ramen, and i wasn't expecting this to be so surreal and genuinely funny.

under the skin - (not gonna google an image for this at work lol). this was cool. reminded me of the terminator in that it centers on a mostly silent killing machine/alien, but of course scarjo being the killer changes the dynamic. the sound design was probably the highlight of this for me. i was hoping for more explanation of her character's backstory at first, but i think it's probably better it didn't do that.

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night of the living dead - somehow i'd never seen this before. it's very low-key, and i initially laughed at how nondescript the zombies looked, but as it went on i think that actually made it scarier. it felt more plausible and grounded than most zombie movies. no spoilers (for a 50-year-old movie?) but that ending was a real gut punch.
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Postby goofy's dead wife » Tue Nov 19, 2019 12:08 pm

todd haynes tells a story in the discussion w/ julianne moore on the criterion release for safe where he talks about how on trips home from college he would smoke weed in his car and look at carols house while listening to sonic youth or w/e. relatable feel.
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Postby blurst of times » Tue Nov 19, 2019 12:12 pm

oh hey plainsong, didn't see your post before mine. we're tampopo buds
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Postby goldsoundz » Tue Nov 19, 2019 12:13 pm

tampopo is so much fun
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Postby No Good Advice » Tue Nov 19, 2019 12:47 pm

Rewatched Meet Me in St. Louis for the first time in a good while and teared up at the the final line. "I can't believe it. Right here where we live". Beautiful movie.
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Postby furrowed brow » Tue Nov 19, 2019 12:53 pm

goofy's dead wife wrote:todd haynes tells a story in the discussion w/ julianne moore on the criterion release for safe where he talks about how on trips home from college he would smoke weed in his car and look at carols house while listening to sonic youth or w/e. relatable feel.


Caravan of loneliness... gay earth etc etc
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Postby mystery meat » Tue Nov 19, 2019 12:57 pm

No Good Advice wrote:Rewatched Meet Me in St. Louis for the first time in a good while and teared up at the the final line. "I can't believe it. Right here where we live". Beautiful movie.

:)
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Postby palmer eldritch » Tue Nov 19, 2019 4:04 pm

watching the hard mike top movies of the decade day 1: High Life (2018)

I liked this one. Surprisingly moving, I thought it had some sort of reputation for nihilism. I'll think it over for a while but it's in the upper tier for sci-fi this decade. A really human science fiction movie, not some sappy spectacle. Everything about it makes sense to me.
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Postby goofy's dead wife » Wed Nov 20, 2019 8:30 pm

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welcome to the dollhouse (1995)

media about any kind of american school that isn't a fucking bloodbath or otherwise the bleakest thing ever is propaganda.

i thought i hated this film for a very long time because my key memory of this was the scenes where the older bully taunts dawn by saying "3 o clock. i'm gonna rape you", and taken alone that scene seems like cheap shock value with a groanworthy punchline serving no purpose other than to state "hyuck hyuck... the suburbs... not as clean as they'd like you to think!". but on revisit i think this provides a top down view of the horrors of the american school system that's weirdly sweet given how deeply ugly it is. there's a bit in imogen binnie's nevada where the main character talks about buying heroin from neonazis, people she hated, and just gazing at the stars, united with an objectively terrible person with nothing in common other than alienation. i think that captures the dynamic of the "good" memories i have of going to public school. it's an absurdly fucked up dynamic that's very hard to communicate and i really appreciate the film trying.

i remember when my partner watched the squid and the whale within like, ten minutes of the movie opening, after she went in fully expecting to loathe it, she said something to the effect of "this is like rich people gummo". i think that's the mode that any indie dramedy has to operate in to say anything of worth, for my money at least. that john waters influence. w/o a doubt this, squid and the whale and the royal tenenbaums are my favorite movies operating in that vein, all for pretty similar reasons.

dawn reminds me of how a lot of trans men i knew were as teenagers. in particular how they were treated. i think for this and other reasons it was easier to find her as a relatable everyday human watching this at age 29 than i did as a teenager. i don't know remove all the mental baggage surrounding it this is just a really good teen movie.

i think i feel similarly about todd solondz films as i do like, xiu xiu now, in that they can get like embarassingly blunt and edgelordy at times but the heart at the center is undoubtedly genuine and their work manages to express something difficult that's rarely expressed in their forms (i.e. american indie dramedies and pop music). i also loved both unreservedly as a teenager and while i have more reservations as an adult i think my appreciation runs deeper. anyway i'm happy that this is a film that exists. one of the few teen movies i can really get behind.
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Postby delgriffith » Wed Nov 20, 2019 8:32 pm

palmer eldritch wrote:watching the hard mike top movies of the decade day 1: High Life (2018)

I liked this one. Surprisingly moving, I thought it had some sort of reputation for nihilism. I'll think it over for a while but it's in the upper tier for sci-fi this decade. A really human science fiction movie, not some sappy spectacle. Everything about it makes sense to me.

Nice. I agree!
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Postby furrowed brow » Wed Nov 20, 2019 8:40 pm

That movie would be better without the narration and some of the exposition imo. I also wish the two timelines were more interwoven throughout. Also I felt like the SA scene was really gaudy and coming from Denis who is so good with off-screen or undersold violence that makes it even more powerful, it felt weird. Otherwise, yeah, I like it a good deal. For some reason it only just clicked for me that his daughter's optimism about the blackhole is like, the optimism of younger generations, to keep pushing on despite bleak prospects. Sort of a "life, uhh, finds a way" movie.
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Postby goofy's dead wife » Fri Nov 22, 2019 8:12 am

hard boiled...

what a beautiful film. I feel high lol. I need to take a deeper dive into the heroic bloodshed genre.
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