Invisible Goat
Shoutbox Elitist 
Grab your mother's keys, we're leaving
Posts: 2,644 
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Post by Invisible Goat on Feb 23, 2016 23:03:21 GMT -5
The WitchOut of a theater full of maybe thirty people, there were three walkouts, and after the lights went up somebody behind me profusely apologized to all their friends they'd presumably dragged along. For one, I loved it, and was intensely unsettled from the opening frame. Anya Taylor-Joy is a fucking revelation. The period-accurate dialogue was very effective in ushering in an alien sense of discomfort, even though a couple of times I was straining to hear what was said (usually when one of the younger children were speaking). The last couple of minutes (no spoilers) weirded me out at first, and my entire trip back home I was mulling it over and I think I liked it, even though it was kind of super goofy? Might warrant further thought, but on first impressions, filing this one with It Follows, A Girl Walks Home Alone At Night, and The Babadook in my 'new horror classics' collection. Also, I am absolutely working "DID YE MAKE SOME COVENANT WITH THAT FOUL GOAT?!" into my daily lexicon. I'd echo this entirely except I immediately loved the last couple minutes despite being aware even then of the potential goofiness. It was like "Are they really gonna do this? Oh they are, and it's somehow working and fucking scary." I was by myself of course but the people next to me were obnoxiously snickering and on the way out someone else was saying "Do NOT tell me you liked that! It was atrocious!" |
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Post by songstarliner on Feb 24, 2016 0:44:26 GMT -5
The WitchOut of a theater full of maybe thirty people, there were three walkouts, and after the lights went up somebody behind me profusely apologized to all their friends they'd presumably dragged along. For one, I loved it, and was intensely unsettled from the opening frame. Anya Taylor-Joy is a fucking revelation. The period-accurate dialogue was very effective in ushering in an alien sense of discomfort, even though a couple of times I was straining to hear what was said (usually when one of the younger children were speaking). The last couple of minutes (no spoilers) weirded me out at first, and my entire trip back home I was mulling it over and I think I liked it, even though it was kind of super goofy? Might warrant further thought, but on first impressions, filing this one with It Follows, A Girl Walks Home Alone At Night, and The Babadook in my 'new horror classics' collection. Also, I am absolutely working "DID YE MAKE SOME COVENANT WITH THAT FOUL GOAT?!" into my daily lexicon. I'm trying to avoid all prior info about this movie before I see it, but after skimming your post with one eye closed I'm so glad to hear that you like it. Hopefully I'll be able to see it tomorrow or the next day - can't wait! |
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Post by songstarliner on Feb 24, 2016 1:10:03 GMT -5
Prior to last evening I had never seen Alien or Aliens. This was something of a pop culture blindspot for me and I was taken to task within the box. "What?! You've never seen Alien or Aliens?! What the F?!" And so I watched Alien last night. What an excellent motion picture! It was creepy as fuck...the alien's hands when it popped up in the vent unnerved me more than I really want to discuss. Aliens was watched this morning, with fellow Alien(s) virgin, Tea Rex . Basically "OH NO!" "Vasquez is the coolest," and "WHAT THE FUCK!" got bellowed non-stop for 2+ hours by us. Aliens was a decent flick as well, but not really scary at all. I like how the genre and tone of the two flims is completely different. I honestly cannot think of another film franchise that switches genres in as dramatic a fashion as Alien did with Aliens. Anyway I've heard horrible things about the subsequent films (and honestly saw whatever one had Winona Ryder in it and thus do not doubt the terribleness of any other Alien movies that may exist), so I think I'm done with Alien unless someone is like, "Yo dawg Alien vs. Predator 2 is actually legitimately good," or something like that. Look, nothing will equal the horrific chill of Alien or the goofy fight-or-flight adrenaline of Aliens, but you really must watch at least 3 and 4, because what else do you have to do? Mind a baby? Pfft. Alien 3 stars Charles Dance and takes place on an all-male penal colony (get it?) for violent sex offenders. It's a little boring, but still - xenomorphs and apocalyptic Christianity. Alien 4 aka Resurrection is a fever-dream movie directed by Jean-Pierre Jeunet (of Delicatessen and City of Lost Children and Amelie) and written by Joss Whedon. What? Yes, that happened. Stars Winona Ryder and Brad Douriff and Ron Pearlman, so yeah, definitely watch it if you have any interest in wonderful terrible movies. |
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Post by Nudeviking on Feb 24, 2016 4:50:47 GMT -5
Prior to last evening I had never seen Alien or Aliens. This was something of a pop culture blindspot for me and I was taken to task within the box. "What?! You've never seen Alien or Aliens?! What the F?!" And so I watched Alien last night. What an excellent motion picture! It was creepy as fuck...the alien's hands when it popped up in the vent unnerved me more than I really want to discuss. Aliens was watched this morning, with fellow Alien(s) virgin, Tea Rex . Basically "OH NO!" "Vasquez is the coolest," and "WHAT THE FUCK!" got bellowed non-stop for 2+ hours by us. Aliens was a decent flick as well, but not really scary at all. I like how the genre and tone of the two flims is completely different. I honestly cannot think of another film franchise that switches genres in as dramatic a fashion as Alien did with Aliens. Anyway I've heard horrible things about the subsequent films (and honestly saw whatever one had Winona Ryder in it and thus do not doubt the terribleness of any other Alien movies that may exist), so I think I'm done with Alien unless someone is like, "Yo dawg Alien vs. Predator 2 is actually legitimately good," or something like that. Look, nothing will equal the horrific chill of Alien or the goofy fight-or-flight adrenaline of Aliens, but you really must watch at least 3 and 4, because what else do you have to do? Mind a baby? Pfft. Alien 3 stars Charles Dance and takes place on an all-male penal colony (get it?) for violent sex offenders. It's a little boring, but still - xenomorphs and apocalyptic Christianity. Alien 4 aka Resurrection is a fever-dream movie directed by Jean-Pierre Jeunet (of Delicatessen and City of Lost Children and Amelie) and written by Joss Whedon. What? Yes, that happened. Stars Winona Ryder and Brad Douriff and Ron Pearlman, so yeah, definitely watch it if you have any interest in wonderful terrible movies. You've convinced me...I'm running the series! |
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LazBro
Prolific Poster 
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Post by LazBro on Feb 24, 2016 10:01:14 GMT -5
Look, nothing will equal the horrific chill of Alien or the goofy fight-or-flight adrenaline of Aliens, but you really must watch at least 3 and 4, because what else do you have to do? Mind a baby? Pfft. Alien 3 stars Charles Dance and takes place on an all-male penal colony (get it?) for violent sex offenders. It's a little boring, but still - xenomorphs and apocalyptic Christianity. Alien 4 aka Resurrection is a fever-dream movie directed by Jean-Pierre Jeunet (of Delicatessen and City of Lost Children and Amelie) and written by Joss Whedon. What? Yes, that happened. Stars Winona Ryder and Brad Douriff and Ron Pearlman, so yeah, definitely watch it if you have any interest in wonderful terrible movies. You've convinced me...I'm running the series! And after you're done, be sure to read up on the development history of Alien 3 and in particular the Vincent Ward version, which I'm sure you'll agree sounds fucking amazing. Awhile back I read a really terrific, in-depth history of Alien 3, but I can't find it now. Start with the wiki link, and if interested, you might be able to find something more substantial in the reference list. |
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Post by Stuffed Salvador on Feb 25, 2016 22:06:29 GMT -5
The Two Faces of January
Personally, if I was the director of this movie and realized that Viggo Mortensen and Oscar Isaac were cast as the leads in my movie, I would've ditched the female love interest and added a bunch of steamy sex scenes between Mortensen and Isaac.
Since life isn't fair, however, here's a perfectly fine and engaging, if unmemorable, throwback to Hitchcockian thrillers of yesteryear.
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Post by Nudeviking on Feb 26, 2016 16:31:12 GMT -5
The Shining. Scatman Crothers is the best, but beyond that my parents always told me, "If you can't think of anything nice to say, don't say anything at all," so...
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Post by Lady Bones on Feb 26, 2016 21:04:27 GMT -5
I watched 9 animated short films this evening, one having previously been seen. They are ranked as follows:
1. World of Tomorrow by Don Hertzfeldt
2. Bear Story by Gabriel Osorio
3. We Can't Live Without Cosmos by Konstantin Bronzit
4. Sanjay's Super Team by Sanjay Patel
5. The Loneliest Stoplight by Bill Plympton
6. A Short Story of a Fox and a Mouse
7. Prologue
8. Catch It
9. If I Was God
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Post by Stuffed Salvador on Feb 27, 2016 2:34:56 GMT -5
Labyrinth
First time watching this. It veers from being pretty solid to suddenly being stupid as hell and unengaging. I'm convinced that I should've seen this first when I was younger
Far From Heaven
This movie basically broke my heart. Julianne Moore is absolutely amazing and I loved how the films uses the tropes of melodramatic movies from the 1950s to emphasize how damaging the effects of prejudice the characters go through are. Need to rewatch it
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Dellarigg
AV Clubber 
This is a public service announcement - with guitars
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Post by Dellarigg on Feb 27, 2016 16:53:11 GMT -5
Borat
A rewatch, since Sacha Baron Cohen was a fairly engaging guest on WTF this week (though not as engaging as the week's other guest, William Friedkin: great storyteller). I think it mostly stood up, though one or two moments seem needlessly cruel. I enjoyed most the scenes where he was in some physical danger: the rodeo, and the naked fighting amidst the mortgage brokers.
Army of Shadows
Bleak but hugely stirring look at the activities of the French resistance during the war. One difficult, if not wholly desolating, experience after another, reflected in the almost colourless palette, this nevertheless sped along - as absorbing and powerful a film as I've seen in a long while.
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LazBro
Prolific Poster
Posts: 10,281
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Post by LazBro on Feb 29, 2016 9:57:05 GMT -5
Deadpool
Yes. Yes, more of that, please. This was a good time. Funny, decent action, fleet pacing, and not bogged down by "epic" ambition. Loved the wall-breaking and was won over by Renolds cheeky performance. I don't read comics so am not familiar with Deadpool outside of that miserable version in the Wolverwine movie, but this is very likable. T.J. Miller and Morena Baccarin turn in good performances as well.
While its brevity is a strength, undoubtedly this feels like half a movie. You don't care about the villain at all, or really even understand his abilities outside of "feels no pain." Either the movie doesn't explain why he's doing what he's doing, or I missed it (and I'd been drinking for a few hours, so that's possible). Colossus was cool, but Negasonic Whatever didn't do much of anything. Deadpool was cute about it ("I guess we can't afford any more X-Men"), but it was still weirdly incomplete. And the movie is more flashback than present day action. I think the present narrative had all of four scenes. It's actually kind of ballsy in a way.
Summary: you can find plenty of problems if you go looking, but as a fun time at the movies, and as the start of a new franchise, Deadpool gets the job done.
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Ice Cream Planet
AV Clubber
I get glimpses of the horror of normalcy.
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Post by Ice Cream Planet on Feb 29, 2016 12:48:29 GMT -5
Stuffed Salvador : Fun Fact: The Two Faces of January was based on a Patricia Highsmith novel, and the man who wrote and directed the film also received an Oscar nomination for one of my all time favorite book-to-film adaptations, The Wings of the Dove. Dellarigg : I initially misread that as Army of Darkness at first and was very confused.
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Post by Stuffed Salvador on Feb 29, 2016 13:14:06 GMT -5
Ice Cream Planet , I am aware of that, hence my interest in watching it (which was mainly for my Oscar Isaac obsession)
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Post by Return of the Thin Olive Duke on Mar 1, 2016 3:33:58 GMT -5
Ice Cream Planet Patricia Highsmith? I'm going to assume the film involves some aristocratic intrigue and coded homosexuality.
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Post by Sanziana on Mar 1, 2016 12:20:50 GMT -5
Watched Raging Bull and Taxi Driver at Dellarigg's suggestion. Top 5 movies for sure, so powerful and striking, maybe even Scorsese's best. Considering I was used with the twisty plots of his later movies, these 2 felt so refreshing in their simplicity and elegance of style. Deeply involving character studies, you can't help but emphatise with these 2 very flawed, disturbed guys, even though their actions should be so alienating. I think that's a testament to the humanity these movies exude and the craft and heart that went into their making; that's what is wrong with later Scorsese films, which although are perfectly executed, feel sterile, there's no emotional core to them, they lack a soul, for lack of a better word, which Taxi Driver and Raging Bull have in spades. Just consider the central character in Raging Bull, an abusive, dim-witted jerk played with such dedication by Robert De Niro who imbues him with such a restless energy and tragic melancholy that feel so universally human. In contrast, Wolf of Wall-Street is in a way similar, but all in all just ends up being a portrait of human filth that lacks substance and doesn't make any sort of lasting impression. The black and white cinematography must be one of the most gorgeous things I've seen and it really adds to the movie. Raging Bull feels like the most personal of Scorsese's movies, there's a unique pathos there that shines through, made even more apparent when reading about the behind-the-scenes drama. I prefer Taxi Driver though, with its deeply unsettling, isolated central character with a saviour complex. The directing is outstanding here also, all those close car shots creating a sense of intimacy with the character; Scorsese manages to put the viewer inside this creepy guy's head and he ends up being so relatable in his quest to escape his solitude, only leaving a terrifying mess in his wake. Unlike in Raging Bull, where De Niro plays Jake LaMotta with this fierce physicality and brash, sleazy charm, he gives an intense, haunted look and a fragility to Travis even when he's donning his cocksure persona. And Scorsese's films are known for their outbursts of disturbing violence, but here it's just used at another level. That scene was so deeply unnerving, and so poignant especially because it takes place in the presence of teenage Jodie Foster and it severs completely the only tether Travis had to other people, he is just completely lost to the world after that. He wanted redemption, he just burned everything down. Well, that's how I see it. Great movies indeed. Mean Streets is next. |
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Ice Cream Planet
AV Clubber
I get glimpses of the horror of normalcy.
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Post by Ice Cream Planet on Mar 1, 2016 13:25:59 GMT -5
Watched Raging Bull and Taxi Driver at Dellarigg 's suggestion. Top 5 movies for sure, so powerful and striking, maybe even Scorsese's best. Considering I was used with the twisty plots of his later movies, these 2 felt so refreshing in their simplicity and elegance of style. Deeply involving character studies, you can't help but emphatise with these 2 very flawed, disturbed guys, even though their actions should be so alienating. I think that's a testament to the humanity these movies exude and the craft and heart that went into their making; that's what is wrong with later Scorsese films, which although are perfectly executed, feel sterile, there's no emotional core to them, they lack a soul, for lack of a better word, which Taxi Driver and Raging Bull have in spades. Just consider the central character in Raging Bull, an abusive, dim-witted jerk played with such dedication by Robert De Niro who imbues him with such a restless energy and tragic melancholy that feel so universally human. In contrast, Wolf of Wall-Street is in a way similar, but all in all just ends up being a portrait of human filth that lacks substance and doesn't make any sort of lasting impression. The black and white cinematography must be one of the most gorgeous things I've seen and it really adds to the movie. Raging Bull feels like the most personal of Scorsese's movies, there's a unique pathos there that shines through, made even more apparent when reading about the behind-the-scenes drama. I prefer Taxi Driver though, with its deeply unsettling, isolated central character with a saviour complex. The directing is outstanding here also, all those close car shots creating a sense of intimacy with the character; Scorsese manages to put the viewer inside this creepy guy's head and he ends up being so relatable in his quest to escape his solitude, only leaving a terrifying mess in his wake. Unlike in Raging Bull, where De Niro plays Jake LaMotta with this fierce physicality and brash, sleazy charm, he gives an intense, haunted look and a fragility to Travis even when he's donning his cocksure persona. And Scorsese's films are known for their outbursts of disturbing violence, but here it's just used at another level. That scene was so deeply unnerving, and so poignant especially because it takes place in the presence of teenage Jodie Foster and it severs completely the only tether Travis had to other people, he is just completely lost to the world after that. He wanted redemption, he just burned everything down. Well, that's how I see it. Great movies indeed. Mean Streets is next. They are fantastic films, and wholly deserve their status as classics. De Niro is extraordinary in both, and as much as I love Network, Jodie Foster should have won Best Supporting Actress for Taxi Driver. One thing I really love about both films is how well the avoid treating the female characters as mere sounding boards for the male leads. I mean, Foster and Cathy Moriarty (who was brilliant in Raging Bull and more than deserved her Oscar nomination) aren't the main characters, but they are integral to the film. On paper, the roles sound so trite (child prostitute! battered wife!), but Scorsese makes sure the viewer seems them as the complex, interesting, uniquely human individuals that they are. They feel real, and it's a joy to watch Foster and Moriarty bring so much life to their characters. Also, funny you mention Mean Streets. There's a cinema here that is playing it as part of a double feature, along with Alice Doesn't Live Here Anymore. And yes, Dellarigg, I'm going to see both on the big screen. |
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
Posts: 7,636
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Post by Dellarigg on Mar 1, 2016 16:32:48 GMT -5
Watched Raging Bull and Taxi Driver at Dellarigg 's suggestion. Glad you liked them - I would've been surprised if you hadn't, in fact. Hope you also enjoy Mean Streets, which, not to build it up too much, is my favourite film of all time. It's a little rougher and looser than the others, but that might be to your taste as well. I'd also recommend The King of Comedy as a hugely prescient, unnerving, and funny look at the kind of celebrity culture we now live in. Amazingly ahead of its time. One of the things that makes Travis so relatable, I think, is the way he sets himself laudable goals but then self-sabotages. He asks the beautiful career woman out ... and takes her to a porn cinema. He works to get in good physical condition ... and pops pills and pours booze over his meals. Very human. The Catholic element of Scorsese also makes for a rich experience, especially if you have Catholicism in your background (I can't quite claim to be lapsed, since I never bought into it even as a child, but it's still there, of course). Taxi Driver becomes a descent into hell, someone trying to save his soul while saving someone else ( Mean Streets has a similar theme). Raging Bull becomes the story of a sinner arranging his own punishment by allowing himself to be beaten half to death in the later fights. Good stuff. As for the technical aspects, the shootout in Taxi Driver and the final fight in Raging Bull ... Scorsese planted himself firmly among the greats with those scenes. |
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Post by rimjobflashmob on Mar 1, 2016 16:39:27 GMT -5
The Revenant
I ended up enjoying this more than I thought I was going to, even if it is about 50 minutes too long. It really is gorgeous, and seeing it at Cinerama only underlined that fact.
But as much as I enjoyed Tom Hardy and Domhall Gleeson, there was no reason for the film to ever cut away from Leonardo di Caprio. Every scene without him was superfluous and broke the intensity of what should have been a harrowing tale of survival. We didn't need to see them get back to the fort, we didn't need any of the Pawnee tracking scenes, and we didn't need to hear Hardy talk about how ROUGH IT IS OUT HERE! because we are literally watching that unfold.
But yeah, other than that, enjoyable. Somewhere there is a 100 minute cut of this film that's a fucking masterwork. But I know I'm going to be too lazy to make it.
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
Posts: 7,636
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Post by Dellarigg on Mar 1, 2016 16:39:42 GMT -5
Watched Raging Bull and Taxi Driver at Dellarigg 's suggestion. Top 5 movies for sure, so powerful and striking, maybe even Scorsese's best. Considering I was used with the twisty plots of his later movies, these 2 felt so refreshing in their simplicity and elegance of style. Deeply involving character studies, you can't help but emphatise with these 2 very flawed, disturbed guys, even though their actions should be so alienating. I think that's a testament to the humanity these movies exude and the craft and heart that went into their making; that's what is wrong with later Scorsese films, which although are perfectly executed, feel sterile, there's no emotional core to them, they lack a soul, for lack of a better word, which Taxi Driver and Raging Bull have in spades. Just consider the central character in Raging Bull, an abusive, dim-witted jerk played with such dedication by Robert De Niro who imbues him with such a restless energy and tragic melancholy that feel so universally human. In contrast, Wolf of Wall-Street is in a way similar, but all in all just ends up being a portrait of human filth that lacks substance and doesn't make any sort of lasting impression. The black and white cinematography must be one of the most gorgeous things I've seen and it really adds to the movie. Raging Bull feels like the most personal of Scorsese's movies, there's a unique pathos there that shines through, made even more apparent when reading about the behind-the-scenes drama. I prefer Taxi Driver though, with its deeply unsettling, isolated central character with a saviour complex. The directing is outstanding here also, all those close car shots creating a sense of intimacy with the character; Scorsese manages to put the viewer inside this creepy guy's head and he ends up being so relatable in his quest to escape his solitude, only leaving a terrifying mess in his wake. Unlike in Raging Bull, where De Niro plays Jake LaMotta with this fierce physicality and brash, sleazy charm, he gives an intense, haunted look and a fragility to Travis even when he's donning his cocksure persona. And Scorsese's films are known for their outbursts of disturbing violence, but here it's just used at another level. That scene was so deeply unnerving, and so poignant especially because it takes place in the presence of teenage Jodie Foster and it severs completely the only tether Travis had to other people, he is just completely lost to the world after that. He wanted redemption, he just burned everything down. Well, that's how I see it. Great movies indeed. Mean Streets is next. They are fantastic films, and wholly deserve their status as classics. De Niro is extraordinary in both, and as much as I love Network, Jodie Foster should have won Best Supporting Actress for Taxi Driver. One thing I really love about both films is how well the avoid treating the female characters as mere sounding boards for the male leads. I mean, Foster and Cathy Moriarty (who was brilliant in Raging Bull and more than deserved her Oscar nomination) aren't the main characters, but they are integral to the film. On paper, the roles sound so trite (child prostitute! battered wife!), but Scorsese makes sure the viewer seems them as the complex, interesting, uniquely human individuals that they are. They feel real, and it's a joy to watch Foster and Moriarty bring so much life to their characters. Also, funny you mention Mean Streets. There's a cinema here that is playing it as part of a double feature, along with Alice Doesn't Live Here Anymore. And yes, Dellarigg , I'm going to see both on the big screen. I'm fairly certain Mean Streets will reveal more of its strengths now you know what to expect from it. I haven't seen it on the big screen, but I did see a midnight double bill of Taxi Driver and Raging Bull in my teens. Great night. |
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Ice Cream Planet
AV Clubber
I get glimpses of the horror of normalcy.
Posts: 3,833
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Post by Ice Cream Planet on Mar 1, 2016 18:50:10 GMT -5
They are fantastic films, and wholly deserve their status as classics. De Niro is extraordinary in both, and as much as I love Network, Jodie Foster should have won Best Supporting Actress for Taxi Driver. One thing I really love about both films is how well the avoid treating the female characters as mere sounding boards for the male leads. I mean, Foster and Cathy Moriarty (who was brilliant in Raging Bull and more than deserved her Oscar nomination) aren't the main characters, but they are integral to the film. On paper, the roles sound so trite (child prostitute! battered wife!), but Scorsese makes sure the viewer seems them as the complex, interesting, uniquely human individuals that they are. They feel real, and it's a joy to watch Foster and Moriarty bring so much life to their characters. Also, funny you mention Mean Streets. There's a cinema here that is playing it as part of a double feature, along with Alice Doesn't Live Here Anymore. And yes, Dellarigg , I'm going to see both on the big screen. I'm fairly certain Mean Streets will reveal more of its strengths now you know what to expect from it. I haven't seen it on the big screen, but I did see a midnight double bill of Taxi Driver and Raging Bull in my teens. Great night. That double feature makes me wish Regent Street Cinema would do one. It sounds like so much fun. Perhaps you're right about Mean Streets; knowing it's more character study than crime thriller will hopefully help with some of the problems I had regarding pacing. But, even if it still doesn't work for me, at least I can say I saw it on the big screen. That's a delight in and of itself. |
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Post by Lady Bones on Mar 1, 2016 23:01:55 GMT -5
Overnight and The Overnight:
Troy Duffy's meltdown and Jason Schwartzman's big floppy fake penis: A study in contrasts.
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Post by MrsLangdonAlger on Mar 2, 2016 0:22:53 GMT -5
Overnight and The Overnight: Troy Duffy's meltdown and Jason Schwartzman's big floppy fake penis: A study in contrasts. Apparently the latter was a prosthetic. The former was definitely real though. |
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repulsionist
TI Forumite
actively disinterested
Posts: 3,689
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Post by repulsionist on Mar 5, 2016 5:08:36 GMT -5
The Red and The White (1967) - Visually beautiful Hungarian-Russo war drama with moral ambivalence skewing "it ain't good fer innibody". Also includes some equestrian porn and tense sexual predation over a gang of nurses.
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Dellarigg
AV Clubber
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Post by Dellarigg on Mar 5, 2016 7:37:43 GMT -5
Grey Gardens.
In some ways the loudest film I've ever watched - the sheer wall of noise created by these two people incessantly talking over the top of each other, and singing in piercing tones, was something to experience. All fairly depressing otherwise, with various traps closing on these women - the past opportunities taken and missed, the mutual dependency, eccentricity hardening into insanity ... the raccoons looked happy though.
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Ice Cream Planet
AV Clubber
I get glimpses of the horror of normalcy.
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Post by Ice Cream Planet on Mar 5, 2016 8:00:08 GMT -5
Grey Gardens. In some ways the loudest film I've ever watched - the sheer wall of noise created by these two people incessantly talking over the top of each other, and singing in piercing tones, was something to experience. All fairly depressing otherwise, with various traps closing on these women - the past opportunities taken and missed, the mutual dependency, eccentricity hardening into insanity ... the raccoons looked happy though. It's one of my all-time favorite documentaries (top five, easy)!One thing I loved was, given the eccentric (to put it mildly) nature of Big and Little Edie, the filmmakers seemed genuinely fascinated and interested in who they were as people and how they both seemed plucked out of another universe. If documentary filmmaking is all about transporting the viewer into the lives of other people, and I believe it is, Grey Gardens is one of the best documentaries ever made. Hilarious, heartbreaking, and incredibly moving all round. This is one of my favorite moments of any film: Also, have you seen the HBO film version with Jessica Lange as Big Edie and Drew Barrymore as Little Edie? |
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repulsionist
TI Forumite
actively disinterested
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Post by repulsionist on Mar 5, 2016 10:05:02 GMT -5
Dellarigg, it is a loud, obnoxious pair of dissolute ladies. Little Edie was entrancing in her narcissism. The Maysles' Salesman has some loudness too.
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
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Post by Dellarigg on Mar 5, 2016 10:08:15 GMT -5
Dellarigg , it is a loud, obnoxious pair of dissolute ladies. Little Edie was entrancing in her narcissism. The Maysles' Salesman has some loudness too. is the quiet one, then? |
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Post by Mrs David Tennant on Mar 5, 2016 17:27:29 GMT -5
I'm watching Young Frankenstein - it was on TCM earlier today.
Werewolf!
There wolf! There castle!
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Ice Cream Planet
AV Clubber
I get glimpses of the horror of normalcy.
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Post by Ice Cream Planet on Mar 5, 2016 17:46:15 GMT -5
NTL: Hangmen
A fantastic cast and a beautifully designed series of sets solidly anchor Martin McDonagh's hilarious/horrifying play. The first act can be a bit draggy in spots, but the actors are so good and the gleefully twisted plot developments are so much fun, it's hard to complain too much.
Hail, Cesar!
A film that must have been a lot more fun to make than it ultimately is to watch. The Coen Brothers have assembled a game cast, have a clear love for Old Hollywood, and enough colorful characters to make what should have been a great film. Alas, none of the characters are given anything of interest to do, and as a consequence, it's the party that never gets started. I do wonder what it would have been like as a miniseries.
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repulsionist
TI Forumite
actively disinterested
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Post by repulsionist on Mar 6, 2016 2:53:16 GMT -5
Deadpool (2016) - As delicious as junk food. I dug Negasonic and got bored with Colossus.
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