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 soft milk » Sat Dec 07, 2019 9:24 pm

Goddamnit ur good
palmer eldritch wrote:tv is garbage though
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Postby paused anime for this » Sat Dec 07, 2019 9:40 pm

OMG, goofy’s dead wife (hyuck!). epic post. i love the movie now, thx
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Postby dcm » Sun Dec 08, 2019 1:38 am

for the new page

goofy's dead wife wrote:
paused anime for this wrote:
tricksforchips wrote:Personal Shopper rips and you're wrong.

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comparing this to demonlover, which i also watched earlier this week, is interesting first and foremost because both films deal with technology in ways that are eminently contemporary to their time of creation -- demonlover as it pertains specifically to pornography and personal shopper as it pertains, generally, to patterns of usage and proliferation and, specifically, to technology's capacity in a postmodern world to act as a spiritualist medium of sorts, which i will elaborate on momentarily -- without the dubious and clumsy moralizing or philosophizing that tends to render those kinds of depictions rudderless in most of the films i am aware of that employ them. much of personal shopper consists of over the shoulder closeup shots of iphone text message conversations, clips of youtube uploads, google searches, and video calls, and though in theory that would seem to invite comparisons to something like Men, Women & Children -- a film tethered, inseparably, to a vision of technology that is ephemeral and fleeting and shortsighted, its message not only one of thinly veiled demonization but also one that is rendered necessarily incoherent by the process of time passing beyond the horizon of the vacuous snapshot it is dated to -- it quickly becomes apparent that assayas approaches these objects and the virtual spaces they facilitate with perspective and purpose and clarity, understanding them not simply in an immediately implicative (and eminently physical) sense but as representations of something intangible and abstracted and unspoken, representations that can be worked through to reveal, imbued onto it by us and back onto us by it as though in a feedback loop, something resonant and timeless and shared across experience by many of us, something inherently and intrinsically human burning at its increasingly incorporeal center.

because if you've lost a friend in the past 10 or so years, or have experienced the demise of a friendship or a relationship (regardless of why, or to what degree it was traumatic or simply unavoidable) for some other reason, you will almost certainly be familiar -- perhaps intimate -- with the capacity of technology to accentuate and elongate the grieving process that follows, sometimes indefinitely. it is, to be presumptive, unavoidable for many of us in the developed world; we leave behind footprints in every virtual space we pass through, imprints of ourselves that when collected and stitched together constitute an avatar through which we navigate and communicate that remains stored and accessible and there long after the person behind the screen -- the person represented and thus replicated by that avatar -- loses access to them, dormant but always there, like a specter fossilized out of time. in other words, all of our tossed off thoughts and photos and connections and text messages outlive us and remain deceptively within reach to those who survive us after every other externalized aspect of ourselves has decomposed, lending a perverse physicality to the dead that robs us of our capacity to understand them as such, and in these representations we, thusly, appear not as though we are gone forever but as if we are simply away, gone for a moment but destined to return as though death were merely a period of inactivity or a change in phone number, the memories of us intermittently but perpetually buoyed to the forefront of our friends' and family's consciousnesses at the whim of an algorithm or wayward search.

and these fragments -- the remnants of a life that we find ourselves holding onto precariously -- give us hope, but oftentimes not the sort of hope we need to cope and grieve and return to some semblance of normalcy; that they exist out of time, assembled representatively within each virtual space where they persist, only makes it easier to internalize and conceive of them as we do any other piece of digitized information, there at once and capable of being experienced, as though for the first time, at any time we choose or simply by accident. it is not a coincidence that assayas juxtaposes the mysterious text messages maureen receives and suspects as being from her deceased brother (who, like her, reputedly had gifts as a medium) with "tacky" made for tv films -- experienced via youtube -- from the 1960s and informational videos about the works of early 20th century artists, both because they delineate, in terms of their content, a more practical understanding of and framework for applying the spiritualist notions of the afterlife that maureen seeks to utilize to communicate with her brother (the made for tv film is about a seance held by victor hugo, and the artist in question is early abstract spiritualist painter hilma af klint, whose paintings were inspired by messages she claims to have received from the spirit world) and also because they, themselves, exist spectrally, as ghosts that haunt digital addresses rather than physical ones and remain suspended in the ether of cyberspace indefinitely, timestamped but just as unbound from linearity as the twitter feeds and facebook montages we scroll through in the dead of night. we can weave, in other words, back and forth between maureen's browsing history and her text messages without experiencing any kind of tonal discrepancy, as though all of it were interconnected, each fragment a piece of a whole materializing in the open space left behind by the outward expansion of a point of infinite density; yet, the film presents these images, and even the phantoms that visibly stalk maureen at various points throughout the film, with an almost hyperreal sensitivity, each shot wreathed with atmospheric lighting and framed as though you were simply someone sitting in the room, distanced but decidedly not separated from what unfolds before you, a spectator to a haunting so drained of stylistic embellishment and misdirected by red herrings you begin, as assayas intends, to question the degree to which any of it is physically taking place in any kind of a shared reality, rather than simply manifesting as a reflection of the exhaustion of a woman simultaneously attempting as best as she can to get through the drudgery (and dangers) of day to day survival in a foreign country while remaining bonded in grief by her brother's childhood promise, a promise she, whether out of obligation or because it allows her to continue envisioning him as in some way still alive and conscious and simply absent in a way that is impermanent, lingers in paris to see fulfilled.


this fucks
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Postby Plainsong » Sun Dec 08, 2019 2:14 am

walt whitman wrote:
Plainsong wrote:The Cabinet Of Dr. Caligari (1920)- Robert Wiene
Really liked this.

will there ever be a shot as good as this probably not

I can think of shots that are probably better, but it's hard to top the insane set design.
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Postby Plainsong » Sun Dec 08, 2019 2:27 am

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The Doll (1919)- Ernst Lubitsch
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The French Connection (1971)- William Friedkin
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The Ghost And Mrs. Muir (1947)- Joseph L. Mankiewicz
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The Gold Rush (1925)- Charles Chaplin
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The Hitch-Hiker (1953)- Ida Lupino
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The Hustler (1961)- Robert Rossen

Really loved all of these.
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Postby futurist » Sun Dec 08, 2019 3:43 am

the hitch-hiker is a masterpiece. also super queer.
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Postby Plainsong » Sun Dec 08, 2019 4:09 am

futurist wrote:the hitch-hiker is a masterpiece. also super queer.

Hell yeah. It might just be my favourite of her films.
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Postby aububs » Sun Dec 08, 2019 4:37 pm

bongo wrote:ruins rider (vaillancourt, 2017)


this was overwhelming. felt deranged whilst watching.
astonishing vigils
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Postby mini » Sun Dec 08, 2019 4:46 pm

futurist wrote:the hitch-hiker is a masterpiece. also super queer.


can you expand on this and/or point to good writing about it? watched it this week and liked it a lot too.
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Postby delgriffith » Sun Dec 08, 2019 8:38 pm

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Portrait of a Lady on Fire - Everything about this worked for me. I loved it

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In Fabric - Occasionally very funny, often beautiful, great soundtrack, but it lost me in the second half
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Postby John Dark » Sun Dec 08, 2019 9:37 pm

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Meet Me in St. Louis, the Fathom showing on the big screen. Still a classic. Still an all-time fave.
Now here is the lake. And I still haven't changed.
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Postby tricksforchips » Sun Dec 08, 2019 10:05 pm

Wow last page is great.
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Postby bongo » Sun Dec 08, 2019 10:49 pm

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les rivières pourpres (kassovitz, 2000)
really fun. plays like a rowdy herrington movie set in the french alps with reno and cassel showboating around and chasing a ritualistic serial killer. apparently theres a sequel written by luc besson that ups the dan brown component which i obviously gotta see now.

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the world is full of secrets (swon, 2018)
put reductively this is like an a24 version of "are you afraid of the dark?". great photography with lots of beautifully layered dissolves and attention to texture. the stories themselves remind me of brian evenson's short fiction. loved it.

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betrayed (costa-gavras, 1988)
actually upsetting and really tense.
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Plainsong » Mon Dec 09, 2019 9:57 am

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The Informer (1935)- John Ford
Loved this, especially the tense atmosphere.
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The Most Dangerous Game (1932)- Ernest B. Schoedsack, Irving Pichel
Liked it.
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The Narrow Margin (1952)- Richard Fleischer
This ruled.
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The Old Dark House (1932)- James Whale
Loved this. Laughton ruled, as per usual.
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The Out-Of-Towners (1970)- Arthur Hiller
Really enjoyed it. Lemmon and Dennis were brilliant.
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Postby Viz » Mon Dec 09, 2019 1:27 pm

L'atalante
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Just beautiful. A faded photo brought to life.

Wicker Man
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My first time watching this. Didn't expect that Midsommar cribbed so much of it.

Chunking Express
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Loved this so much. Went into it actually expecting some crime drama but no, this was much better as a fighting loneliness in Hong Kong story.

Tron (1982)
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The bike scene still rules. It's interesting that this was supposed to be the future of animation, but obviously it wasn't, so the style really works as an outlier, with its vector graphics mixed in with painted directly on the frame style effects.
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Postby Pokemon Mastah » Mon Dec 09, 2019 2:19 pm

delgriffith wrote:Image

Portrait of a Lady on Fire - Everything about this worked for me. I loved it


Yeah this was fantastic. Probably my favourite film that I've seen in a cinema this year
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Postby Plainsong » Tue Dec 10, 2019 3:24 pm

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The Picture Of Dorian Gray (1945)- Albert Lewin
Enjoyable.
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The Strange Love Of Martha Ivers (1946)- Lewis Milestone, Byron Haskin, Hal B. Wallis
Loved this. All the performances were solid, especially Heflin and Douglas.
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The Young Lions (1958)- Edward Dmytryk
It was ok, a bit dull in some parts. All the performances were decent enough. The orchestral score was beautiful.
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Theodora Goes Wild (1936)- Richard Boleslawski
This was great.
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They All Laughed (1981)- Peter Bogdanovich
Bittersweet to the core and I loved it. Hepburn and Gazzara and the rest of the cast gave beautiful performances.
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They Live By Night (1948)- Nicolas Ray
This ruled.
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This Gun For Hire (1942)- Frank Tuttle
This owned. Both Alan Ladd and Veronica Lake gave great performances.
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Postby palmer eldritch » Tue Dec 10, 2019 3:50 pm

watching the hard mike top movies of the decade day 5: Paterson (2016)

not a movie for me. maybe I'm too miserable of a person. I felt no connection at all to these characters. also the most stagey and artificial feeling Jarmusch movie. how's that zombie one?
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Postby Celiac » Tue Dec 10, 2019 4:01 pm

Everyone pray for Del
mcwop23 wrote:i love my team (the knicks)
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Postby bongo » Tue Dec 10, 2019 4:13 pm

palmer eldritch wrote:how's that zombie one?


remarkably awful
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby palmer eldritch » Tue Dec 10, 2019 4:18 pm

I think I might watch it
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Postby bongo » Tue Dec 10, 2019 4:22 pm

you definitely should
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby palmer eldritch » Tue Dec 10, 2019 4:22 pm

they have it at the library
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Postby Repo » Tue Dec 10, 2019 4:35 pm

haven't seen it either, let us know if it's any good
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Postby bongo » Tue Dec 10, 2019 10:32 pm

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night without distance (patino, 2015)
i really loved "mountain in shadow" and this is just as good. plays out kinda like a negative-reversed shenmue set in the mountains of portugal and galicia. equally pastoral and alien.

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moon blink (kohlberger, 2015)
astonishing film. apparently "algorithmically generated by complex software", this is 10 minutes of dynamic evolving images that kinda seem like the visual equivalent of maryanne amacher's third ear music. need to see more kohlberger immediately.

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lost in new york (rollin, 1989)
the least horny rollin ive seen. basically a "celine and julie" type beat. cool but sort of slight and maybe a bit cynical to work how it should.
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby soft milk » Tue Dec 10, 2019 11:45 pm

Dark Waters

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this is one of todd haynes best films? it'll fly totally under the radar and no one will talk about it. mark ruffalo is at his squintiest, most baffled and frustrated. i liked all the little details of how communication and technology in processes like this change with the long periods of time they take. i also liked that it's cheesiest moments are almost immediately followed by some bleak new detail or defeat. really good film. truly a dying breed of a genre.
palmer eldritch wrote:tv is garbage though
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Postby mondrary » Tue Dec 10, 2019 11:53 pm

hell yes soft milk i'm seeing that tomorrow!!
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Postby Autarch » Tue Dec 10, 2019 11:56 pm

personal shopper is sick as hell
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Postby Buzz Fledderjohn » Tue Dec 10, 2019 11:56 pm

dark waters was pretty good and balmy but anne hathaway is such a hammy overactor and that character was disappointingly pointless in this
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Postby soft milk » Wed Dec 11, 2019 12:00 am

there's also a really stunning shot of an MRI machine that kind of blew me away given that haynes mostly just sticks to artfully directing a procedural without taking much risk (which i don't think was necessary?) but i'm also a sucker for that kind of stuff so.
palmer eldritch wrote:tv is garbage though
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