last movie watched.

Humans in space suits make monkeys nervous

Postby furrowed brow » Tue Feb 12, 2019 5:10 pm

aww nvm.

good post lsr
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Postby mellowgold » Tue Feb 12, 2019 5:12 pm

landspeed i recently watched Basic Instinct for the first time and i had no idea it was a horny Vertigo ugh. so good. Sharon Stone rules.
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Postby landspeedrecord » Tue Feb 12, 2019 5:16 pm

"horny vertigo" is a great way of putting it!!!

sharon stone is so good that I am contemplating watching the sequel, lord help me
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Postby neuartillery » Tue Feb 12, 2019 5:25 pm

landspeedrecord wrote:
neuartillery wrote:I rewatched Ronin a couple of weeks ago and I thought it holds up pretty well. The car chases rule, but I also appreciate that De Niro actually underplays his character. I've never seen Reindeer Games.

I watched Deep Rising a few months ago while working out and that film's a fucking mess.

fwiw reindeer games is objectively really terrible, but I'm a lot less critical of films that don't take themselves too seriously


Ronin certainly takes itself too seriously but again, I think it works. Love the Sean Bean plot.

I read the plot summary for Reindeer Games and I could see it being dumb pulpy fun or a complete disaster, I assume the reality is halfway between the two.
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Postby palmer eldritch » Tue Feb 12, 2019 8:06 pm

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Smashing the 0-Line (Suzuki, 1960)

It wasn't that long ago that I had basically ran out of Seijun Suzuki movies to watch that had subtitles (except for his two last ones, I always drag my feet on this type of material, I haven't watched Oshima's Taboo either) but thanks to Arrow box sets and some misc. releases and the hard work of someone making custom subs on KG there's now something like 18 more for me to plow on through. I've only seen a few from his 50's period but I've gotten the impression that 1960 was his real turning point, which I suppose I can affirm or not when Passport to Darkness gets subs, but anyhow in 1960 he started off with the very solid noir flick Take Aim at the Police Van and later in the year made the excellent Everything Goes Wrong, a thoroughly new wave picture by my estimation. Between those, he made two other movies, one of which is this one, Smashing the 0-Line. The plot is just nonsense really, does it matter? Two journalists, one of them a goodie goodie and the other repugnantly amoral, try to crack a story about smuggling from Hong Kong, and really there's not much difference between them and detectives other than they show up at the newspaper office once in a while. But the core elements of later Suzuki are present: brilliant camera-eye, chaotic editing, and dark nihilism. I really had trouble keeping up with what's going on because he just moves as fast as possible at all times (can you believe some people think that's a bad thing?). There's one particular scene near the end that reminded me of the famous (is it famous? it is famous to me) smash-cut in Tokyo Drifter where a shootout between the protagonist and a pursuer suddenly cuts to another scene and you're left with no resolution, forced to fill in the gap yourself. Where it lacks in comparison to his later work is that well, the characters here aren't as interesting (and the dialog is perfunctory) and it doesn't have the scenes of expressionistic spectacle that elevated his best movies. Still, I'd have to give it a solid, hell yeah.
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Postby palmer eldritch » Tue Feb 12, 2019 8:13 pm

Oh, and as far as new wave shit goes, I think you could make a good case for it. It's even got this really weird sequence where he cuts to the back of a guy's head for a few seconds, for no real reason (he's not even talking at the moment, he stops for the duration of the shot), that really amused me. And then it continues as he gives his monologue to cut to slightly different angles between sentences.

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Postby pink snake » Tue Feb 12, 2019 8:40 pm

I just saw all of the Oscar nominated live action shorts. Every one was so dark!
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Postby mondrary » Wed Feb 13, 2019 12:57 am

julien donkey-boy (1999, dir. harmony korine)
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i loved it! the photography was stunning throughout, werner herzog is absolutely hilarious, and the ending is shockingly moving and heartbreaking.

a star is born (2018, dir. bradley cooper)
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i thought it was good. a bit standard and the end is a little Too Much (although i like the last shot), but overall i liked the spin it put on this Age-Old Story and cooper's direction was surprisingly good. i found it hard to understand much of cooper and elliott's dialogue and was finding myself just sort of hoping i could infer what was happening. not my Favourite (Lmao...) of the best picture noms i've seen so far, but i think i've only seen three or four at this point.

fitzcarraldo (1982, dir. werner herzog)
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pretty good, although it definitely feels its length. the sheer determination of klaus kinski's character in this completely absurd scheme is enough to push the film through.

repulsion (1965, dir. roman polanski)
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took me a bit to fully embrace but by the end i was into it. some of the imagery, especially the hands coming out of the wall, was really striking and freaky.

maps to the stars (2014, dir. david cronenberg)
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damn, i loved this. immediately one of my favorite cronenbergs. such a compellingly bizarre movie.
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Postby furrowed brow » Wed Feb 13, 2019 3:39 am

The Kindergarten Teacher (Sara Colangelo, 2018) - This one is wild. Felt way over its runtime in a good way. Maggie Gyllenhaal is great (what a talented pair of siblings huh). Umm, idk what to even say about this one, which is more or less to say that if I don't restrain myself I might write way too much about it, including a lot of criticisms. Anyway I pretty much love this movie. The tension in some of its scenes is really something. Idk, just see this thing, you might not like it and i'd even expect it to be divisive to some degree, but still it's worth watching, at least.
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Postby mellowgold » Wed Feb 13, 2019 8:25 am

I really liked The Kindergarten Teacher it placed just outside my top 10 of 2018. Maggie Gyllenhaal is just so damn good in it! one of the best performances of the year. The last 15 min kinda sunk the movie for me a bit. ive had this pic saved on my phone for months now.

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Postby landspeedrecord » Wed Feb 13, 2019 9:39 am

great post, palmer

I haven't seen nearly any of suzuki's work before 1960, I should check some of those. weirdly, I saw passport to darkness a few years ago as part of a suzuki retro that ran. classic premise, striking photography; frank depiction of sex, drugs & crime. the plot is garbage, but it's all about the style
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Postby furrowed brow » Wed Feb 13, 2019 11:05 am

mellowgold wrote:I really liked The Kindergarten Teacher it placed just outside my top 10 of 2018. Maggie Gyllenhaal is just so damn good in it! one of the best performances of the year. The last 15 min kinda sunk the movie for me a bit. ive had this pic saved on my phone for months now.

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lol, good pic. yeah the ending is a little on the nose maybe. a subtler direction may have been better. idk, i'm going to have to let this one sit with me (and maybe watch again) before I say much more.
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Postby internetfriend » Wed Feb 13, 2019 11:07 am

maps to the stars owns
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Postby inmate » Wed Feb 13, 2019 1:12 pm

the kindergarten teacher made me profoundly uncomfortable in a way very few movies ever have. it was really good
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Postby furrowed brow » Wed Feb 13, 2019 8:36 pm

I really wanna know what happens to Becca, and how Lisa getting her shitcanned from her nanny job will affect her career in, umm, acting.Toggle Spoiler
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Postby tricksforchips » Wed Feb 13, 2019 8:45 pm

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High Flying Bird, Soderbergh

Honestly it was a pretty riveting film due to the great script and cast but I just don't understand why he used the iPhone. The film looks like a student film with big named actors. Could have been improved dramatically and would have a lasting effect if it actually had decent cinematography. It didn't even do anything creatively with the technology -- just plopped it in front of actors with some of the worst framing I've seen in a long time.
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Postby Fr. Blanc » Wed Feb 13, 2019 9:06 pm

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
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Postby tricksforchips » Wed Feb 13, 2019 9:46 pm

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

Ok hold on the kindergarten teacher was trash, explain yourselves
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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.
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Postby Fr. Blanc » 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.
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Postby groupb » Wed Feb 13, 2019 10:27 pm

imagine daniel day lewis acting in front of an iphone, confused
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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.
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Postby Fr. Blanc » 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.
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Postby Fr. Blanc » 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
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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.
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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.
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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.
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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.
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