Schoolio's Movie Corner

[Neutral Milk Hotel]

Don't forget The Queen.

[keriann]

* and the movie corner

But I'm always waaaaay behind on movies so it ends up being a bit spoilery for me. And I like to see movies knowing as little about them as possible. But I do keep my eye on this thread for recommendations.

[schoolofruckus]

Actually, I never saw that. I have a kind of inherent disinterest in films about the British monarchy, and even though I'd heard that one was good enough to transcend that, I wasn't able to get past it in order to get out and go see it. Too many films and too little time.

[Yablonowitz]

No. I found out it's playing the Living Room this weekend, so I've decided to see it tomorrow.

I'm fucking seeing it tomorrow.

Between the two of us, I think we have almost gone to see it more times than it has actually played.

[Neutral Milk Hotel]

It's a good movie, Hal Holbrook was easily the best part.

[mountmccabe]

The reviews are everywhere today about "Diving Bell and The Butterfly". NPR had a hard on over it this morning now I see 5 different reviews on news sites.

I recommend it. I saw it at the Scottsdale Int'l Film Festival in October and posted a review (http://coachella.com/forum/showthread.php?p=312603#post312603) in this thread. It's not always (or even generally) a pretty movie but it's quite good.


Also, just so I mention it in here as well as the Phoenix Thread, Control is playing at Valley Art starting December 7th. I am def going that first week because I'm not going to count on it running any longer than that.

[schoolofruckus]

Yeah, definitely don't wait. It only played for a week here, so I doubt you'll have it for longer than that.

[inrainbows]

Control is going to be the best film of this year, remember it
my friends.
At this opportunity I would like to say hello to everyone, as I am new in this terrific forum, have fun

[schoolofruckus]

Do you say that from experience or anticipation?

It's definitely on the shortlist.

[KungFuJoe]

I agree with you Gabe that last year was a great one for women. That's what makes it a bit strange that this year is strongly lacking. Let's not forget "Little Children" & "Notes on a Scandal".

[schoolofruckus]

Oh, good call on Little Children. I was a bit restrained on the film overall - though I absolutely respected it - but Kate Winslet was terrific in it.

Never saw Notes on a Scandal.

[Courtney]

Tonight, I saw The Savages. I really enjoyed it. It felt almost like an observation, like nothing more than an account of a certain time in the lives of these characters. There aren't any tearful revelations, any big plot twists, just this brother and sister and their father, and the complex, imperfect relations between them. There are hints that the father treated the kids abusively/neglectfully when they were young, but we don't get the whole huge confrontation where the sins of the father are brought out into the open by the damaged children. It has some funny moments and some serious moments, but I wouldn't really call it a comedy or a drama, because it has the unpredictability of (again) real life, where sometimes we laugh, sometimes we cry, sometimes we get angry and say things we regret, etc. Some might say the ending is a little pat, but it worked for me, although I thought the last shot was pushing it a little.

I saw The Savages last month (comments here (http://coachella.com/forum/showpost.php?p=327583&postcount=3220)) and was also struck by how understated the whole thing is.

I don't think I remember what the last shot was?

[inrainbows]

Do you say that from experience or anticipation?

It's definitely on the shortlist.
I ve noticed the stats, at least in my country it's on no 1

[schoolofruckus]

"The Savages" sounds interesting. There's a free screening of that next Thursday I want to try and hit. And I share Courtney's infatuation with Philip Seymour Hoffman, so that definitely helps.

[schoolofruckus]

I ve noticed the stats, at least in my country it's on no 1

But did you actually see it? That was what I was asking.

And hello, by the way.

[KungFuJoe]

I was hesitant in initially seeing Little Children. I ended up watching it with my roommate over the summer and thought it was a great film. The performances were stellar as well as the direction. Easily one of the top five best films of last year that should have made my list. I too have yet to see Notes on a Scandal, but have been told that Blanchett & Dench's performances are fierce. I think I will be renting that & Inland Empire this week.

As for Control, I see it's playing at the Regency Fairfax Theater. I've never been there and expect it to be a run down crappy theater, but I will make it a priority to go check out the film this week.

[schoolofruckus]

It's definitely seen better days, and it was never an Arclight or a Landmark. But it's a perfectly fine place to see a movie. Chris and I caught Eastern Promises there a few weeks ago. And I remember seeing Primer there back in '04. I also know a guy who met Spike Jonze and Charlie Kaufmann there watching some movie (I can't remember what).

Also, I just watched the Diving Bell and the Butterfly trailer (http://www.apple.com/trailers/miramax/thedivingbellandthebutterfly/trailer/) again and....wow. I can't imagine this being less than awesome.

[tessalasset]

Tessa will probably rape-murder you to get her hands on that shirt.only if it was michael's actual shirt.


i'll go with you to the living room tomorrow. don't get mad if i fall asleep in one of the couches tho cause im gonna be up at 6:30 and it's a long fuckin day tomorrow.

[Jerm05]

Cate Blanchet in I'm Not There.



Yess...Blanchet was amazing in that film. Charlotte Gainsbourg was also great. I was somewhat dissapointed with Heath Ledger's performance, thought i was looking at Lords of Dogtown for a second.

[wmgaretjax]

I loved Little Children. It was a little heavy handed, but there were some phenomenal moments (looking up at the gnats under the street lamp).

I'm very excited for The Savages.

[Neutral Milk Hotel]

I saw The Savages last month (comments here (http://coachella.com/forum/showpost.php?p=327583&postcount=3220)) and was also struck by how understated the whole thing is.

I don't think I remember what the last shot was?


SPOILERS
.
.
.
.
.
.
.
It's of Laura Linney jogging, with the arthritic dog in this coach thing to help its hips, for a movie that was so, as you said, understated it felt a little out of place. But it was just one shot, and I really enjoyed the rest of the movie, so I can let it go.
.
.
.
.
.
.
.
.
.
.
END SPOILERS


I feel the same general impression as you. Despite occasionally enjoying films like Little Miss Sunshine, or everything Wes Anderson has done to this point, I'm growing exponentially tired of films built around a sense of quirk, and I'm fearful of Juno turning out that way as well. With a cast as good as that one, I'm hoping that it sidesteps its seemingly-inevitable status as the Official Overhyped Indie Dramedy of 2007. The reviews definitely make me want to at least give it a shot. But if this one turns out predictably, I'm going to swear off the O.O.I.D. of 2008, 2009, and probably 2010 just on general principle.

I agree. The whole Quirky New Wave or whatever you want to call it never bothered me until this year. Napoleon Dynamite was a movie I didn't have many problems with (until it became massive overexposed). Garden State I thought was mawkish and kind of obvious, but it had some nice moments and was generally inoffensive. I loved Little Miss Sunshine the first time I saw it, liked it the second time, and continue to like it. I think the tides maybe started to turn when Abigail Breslin got nominated for an Oscar, and to a lesser extent the Best Picture nomination. I'm not gonna pretend that it wasn't just the overexposure getting to me, but I will never understand why Breslin was really among the best five supporting actress performances of 2006. She is a young, happy (I assume) child, and she played a young, happy child. Sure, she does a good job, but it didn't floor me. Then, Juno came along. I first heard about this film when it hit Sundance last year (or maybe before); I was initially reluctant because I hated Hard Candy and everything it stood for, but I was willing to give it a chance. I think my dislike began when I kind of assumed, "Hey, they're gonna market this as the next Little Miss Sunshine", and then that's exactly what they did. There's something soulless about how Fox Searchlight in particular seems to be turning independent film, which should be one of the more personal of film genres (genre isn't the right word, but I'm blanking) into a product. And then I saw the trailer, and it looked like a kind of soulless amalgam of all the latest trends in the aforementioned movies. But hey, I'm still trying to be open-minded, and bmack endorses it, so I'll try to be as reasonable as I can when and if I actually see it.

As for Wes, the reason his films work for me is that the characters, while they inhabit this twee universe, have some serious baggage and problems, and his movies don't really dodge those issues or try to provide easier answers. I think it complements his aesthetic sense well.

PS: Are you any of you going to the screening of Persepolis the Monday after next at the Arclight? Should be good.

[idrive1life]

Thanks to NMH's post about criterionforum because somebody in that message board posted a you tube link to King Vidor's, The Crowd (yeah, that awesome classic 1928 silent film!). Somebody uploaded it in full by breaking it in 11 parts.

It will go down in my film watching history as the first ever I've seen in you tube in full.

Here's the first part:
pL1JyKSmjxE

The picture and sound quality is pretty good. I never had problem watching all of them.

[schoolofruckus]

I agree. The whole Quirky New Wave or whatever you want to call it never bothered me until this year. Napoleon Dynamite was a movie I didn't have many problems with (until it became massive overexposed). Garden State I thought was mawkish and kind of obvious, but it had some nice moments and was generally inoffensive. I loved Little Miss Sunshine the first time I saw it, liked it the second time, and continue to like it. I think the tides maybe started to turn when Abigail Breslin got nominated for an Oscar, and to a lesser extent the Best Picture nomination. I'm not gonna pretend that it wasn't just the overexposure getting to me, but I will never understand why Breslin was really among the best five supporting actress performances of 2006. She is a young, happy (I assume) child, and she played a young, happy child. Sure, she does a good job, but it didn't floor me. Then, Juno came along. I first heard about this film when it hit Sundance last year (or maybe before); I was initially reluctant because I hated Hard Candy and everything it stood for, but I was willing to give it a chance. I think my dislike began when I kind of assumed, "Hey, they're gonna market this as the next Little Miss Sunshine", and then that's exactly what they did. There's something soulless about how Fox Searchlight in particular seems to be turning independent film, which should be one of the more personal of film genres (genre isn't the right word, but I'm blanking) into a product. And then I saw the trailer, and it looked like a kind of soulless amalgam of all the latest trends in the aforementioned movies. But hey, I'm still trying to be open-minded, and bmack endorses it, so I'll try to be as reasonable as I can when and if I actually see it.

As for Wes, the reason his films work for me is that the characters, while they inhabit this twee universe, have some serious baggage and problems, and his movies don't really dodge those issues or try to provide easier answers. I think it complements his aesthetic sense well.

PS: Are you any of you going to the screening of Persepolis the Monday after next at the Arclight? Should be good.

After seeing the trailer tonight, I'm going to have to at least try. Is it publicly on sale? Or is it a list screening?

I don't know what has gotten into the filmmakers of the world this year, but there's definitely something special in the air. I feel like every film I'm getting it up to go see is turning out to be spectacularly alive and original, striking a perfect balance between creative entertainment and profound substance. It's like every director in the land made a conscious, collective decision to go balls out with every sliver of their respective talents, resulting in an ongoing game of "can you top this?" in which the winner is anyone lucky enough to set foot in a theater over the last/next few months.

Tonight's example is The Diving Bell and the Butterfly. I don't want to give too much away by talking about it, so again I implore you to watch the beat-perfect trailer (http://www.apple.com/trailers/miramax/thedivingbellandthebutterfly/trailer/) and decide for yourself if you want to see it. It's about a man named Jean-Dominique Bauby, the editor of French Elle magazine, a hedonistic playboy (is there any other kind?) who has been rendered paralyzed by a sudden and inexplicable stroke, and who has to learn how to communicate with the blinking of his left eye as his only remaining physical capability. It's a truly extraordinary, visionary work that takes us deep inside this man's mind, primarily telling the film (during the breathtaking first hour) literally through his one functioning eye. This is the kind of story I'm sure you think you've seen before, but you have never seen it done like this, I guarantee. It's a phenomenal piece of filmmaking that captures the powers of remorse and imagination in every corner of every frame.

[Neutral Milk Hotel]

They're on sale, there's a Q&A with Marjane Satrapi and the co-director, whose name escapes me, afterward.

[schoolofruckus]

Oh shit, it's on the 10th, not the 17th. Yeah, I can't go to that. But I'll definitely be checking this out in December/January whenever it gets released.

[schoolofruckus]

I just got back from this.

Some French journalist and editor for Elle had a stroke and was left paralyzed so he wrote a book about it. The movie is about, his life after waking up from having his stroke. It was extremely well done. I am not sure what I can say without giving stuff away. It's not like there're big spoilers I'm afraid of giving away... it'sn't that kind of movie.

It isn't terribly pretty, partially because much of it is shown from his perspective and he has vision issues. It isn't a particularly happy movie but it is warm and rich and beautiful and strong. It is touching but I don't think it ever gets over sentimental.

It has a lot of humor to it and also a lot of blinking.

I agree on all points. There's definitely a decent amount of humor (some of it is extremely morbid) for a movie about such a depressing state of existence.

[bmack86]

I missed three screenings of Persepolis because of work. Fuck work.

[roberto73]

I started with re-watching Babel A- (downgraded from A and after seeing some better '06 films, it's no longer my best of '06; it's not as great I thought it was the first time I watched it in theaters)

Taken on its own terms, I think it's pretty good, but in the context of Amores Perros and 21 Grams, Iñárritu's starting to look like a one-trick pony. Sure, it's a good trick, but he needs to branch out from these interlocking-storyline, life-is-shit depression-fests. As good as Babel is, I couldn't help but feel it was the third time I'd seen this movie. I'd love to see him do something like P.T. Anderson did by following up Magnolia with Punch-Drunk Love. If you look at most of the directors who have had lengthy, distinguished careers, versatility is one of their trademarks: Scorsese, Coppola, Altman – hell, over the years even Woody Allen went from Bananas to Manhattan to Crimes and Misdemeanors. To keep me interested in his work, Iñárritu's going to have to start showing me things it doesn't feel like I've already seen.

[wmgaretjax]

Roberto,

You pretty much nailed it. But if Inarritu is going to use the same technique in his next films, we can safely say that he wants to be none of those great directors you mentioned (unlike Inarritu though, they've directed so many that their career would not last that long if they did the same type of film or used the same technique in doing them over and over). He probably wants to be a Bergman or Bunuel or Almodovar or Lynch ... you know what I'm saying without elaborating? I'm with you but I'll use other versatile great modern directors as examples ... I wish he would be like Nolan or Kar-wai or Hanson or Zimou or Cuaron ...

stop picking directors names out of thin air, you aren't making a coherent argument.

Inarritu is much like Wong Kar-Wai in the since that he is frequently unable to transcend the distilling of his film into a simple notion. Wong Kar-Wai's films always encompass the notion of "two ships passing in the night," and it is very similar to Inarritu's technique. Both need to branch out if they will ever be remembered in the canon that you get randomly pulling from.

EDIT: I would add Almodovar to this idea as well.

[wmgaretjax]

My problem with Ratatouille stems form it's use of old and tired Disney character revelations. Like most of the Pixar films, it is incredibly formulaic (but without the insane humor of other films by them). It is nothing like Triplets of Bellville, Spirited Away and The Iron Giant (all great films that transcend simple morality fables). You are comparing these films simply because they are animated, and that's far from fair when dealing with more mature material.

As far as Wong Kar Wai, you seem to have gravely misunderstood me. I love his films, but to deny that they are flawed and tend to rely on the same foundation is naive (which you didn't, for the most part). He has evolved, but not in the manner that he potentially could. From the lists of directors you have spewed off, I imagine our tastes in film are actually potentially similar, but when you actually assert an opinion such as:

"Inarritu can stick to his "interlocking-storyline" technique but he needs to re-invent or maybe use that technique with some other genre like in musical or comedy."

It is very clear that our understanding of cinema is "miles apart." You believe that a director will declares himself on genre lines, I personally believe it takes place in the shades of grey in between.

I will leave "eloquent" descriptions of cinema, to films that are deserving.

[Neutral Milk Hotel]

Seeing Juno on Tuesday for free.

[Yablonowitz]

http://img.photobucket.com/albums/v682/yablonowitz/bardemcountry.jpg

[atom heart]

When is Persepolis out? My entire class had to read the book, and I really liked it, plus the animation looks really neat. The school might actually be working to get a showing here, which would be cool because the area is way behind on the movie front. When I get home I catching up on all this stuff!

[Neutral Milk Hotel]

IMDb has it down for Christmas.

[wmgaretjax]

I watched "Ravenous" today. While it is not without it's flaws, it's a pretty brilliant, yet ridiculous look at Manifest Destiny through the lens of cannibalism. It doesn't take itself serious, and that is vital to the film's success.

[roberto73]

Holy God, Spider-Man 3 is terrible. What a vile, loathsome movie. It's not bad in a disappointing, "gee, I wish that had been better" kind of way. It was gloriously, ridiculously bad – so wrong-headed and off the rails on so many different levels that I have no idea how Sam Raimi didn't realize what he had on his hands. I can sort of live with clunky CGI and silly dialogue, but the performances and pacing were so awkward and weird that I was physically uncomfortable for most of the movie. And that Tobey Maguire montage where he wanders around the city showing off how hunky and debonair he is? Cringe-worthy. The previous low-point for superhero movies was Joel Schumacher's Batman and Robin, but no longer. I've been a fan of Sam Raimi ever since I saw Evil Dead 2 in 8th grade, but this movie is so bad it makes me completely reevaluate my opinion of the man.

[thelastgreatman]

Worse than Batman and Robin? Seriously? I haven't watched Spiderman 3 yet, but if you're being serious I might have to check this out.

[roberto73]

Worse than Batman and Robin? Seriously? I haven't watched Spiderman 3 yet, but if you're being serious I might have to check this out.

I'm willing to admit that the revulsion I felt toward Batman & Robin might be dulled because I haven't seen it in years, but yeah, right now I'd put Spider-Man 3 on top. I remember Batman & Robin being bad because it's stupid – cheesy and hokey and campy and just full of dumb stuff. Spider-Man 3 is all those things, too, only it also looks borderline incompetent. And – and this might be the capper – it's almost two and a half hours long. Some movies have enough ideas and substance to warrant 150 minutes. Spider-Man 3 is not one of those movies.

[schoolofruckus]

I saw Ravenous in high school. I remember thinking it was pretty hilarious.

The more I hear about Spider-man 3, the more certain I become that I will never watch it. My, how the mighty have fallen - a filmmaker who once used low budgets as his aesthetic muse is now falling to pieces before our eyes with virtually unlimited financial resources.

I watched a couple yesterday.

Miller's Crossing - In honor of No Country For Old Gregg day, I decided to finally watch one of the few unseen Coen Bros. movies left on my list. It was awesome. Of course it was. It's a heavily-stylized Prohibition gangster yarn, beautifully shot by Barry Sonnenfeld (another former shoe-stringer who's gone to the dark side) and well-acted by a signature great Coen cast. There's enough tasty dialogue in this one to feed the state of Delaware through the winter.

Into the Wild - Yeah, I finally saw it. And it was worth the wait too. It's a terrific, multi-faceted portrayal of the final act in the life of the infamous Christopher McCandless (a.k.a. Alexander Supertramp). After years of dutiful college-going and party line-towing, his anger at his materialistic and somewhat heartless upbringing drives him to forsake his $24,000 college fund and hit the road. He hitchhikes his way through a minimalist existence, seeing as much of America as possible until he reaches his personal Utopia - Alaska, where he co-opts an abandoned bus and lives in complete solitude until....well, you know.

I don't know anything about the real Christopher McCandless except that he's widely reviled by a lot of people who live in Alaska. It wouldn't surprise me if the movie soft-pedaled some of his exploits, but based on what's represented here, I don't see what the big deal is. Sure, McCandless could have escaped his inevitable fate had he simply followed a map or been less blindly confident in his approach to his quest, but I saw nothing here to suggest that he even wanted those things. Seems to me like he was living his life exactly the way he wanted to. He certainly should have called his sister - his suddenly solo ally throughout all the traumatizing events of his childhood - and it's to the movie's credit that it doesn't ignore the ramifications of his selfish pursuit on the people he connects with on his journey (let alone his family). But the film's biggest accomplishment is to make McCandless' ideals worthy of our admiration, if not total agreement. There's a unified sense of purpose in everything he's doing, and despite his tendency to forge a relationship and then leave at the drop of a hat, he seems to see the world with genuine concern for the greater good.

The film is perfectly cast. William Hurt's mere presence as the hurtful McCandless patriarch suggests things that a dozen expository scenes never could. Jena Malone admirably performs the film's most thankless character and role (McCandless' sister, Carine) mostly through off-screen narration. Catherine Keener, Kristen Stewart, and Vince Vaughn play various friends who take in and love the film's protagonist at various stops on his journey. And Hal Holbrook makes easily the biggest impression among the supporting cast with his late appearance as the elderly man that befriends Christopher on his last stop before Alaska. But the film really belongs to Emile Hirsch, a promising young actor who I liked very much in The Dangerous Lives of Altar Boys. This is the role of a young lifetime, and he confidently carries this long film from start to finish. Praise is also due to writer/director Sean Penn, whose intimate camera and solid script create a thoughtful, balanced film around a spirit he clearly empathizes with on a very deep level. Like with 90% of movies, I could definitely have done without the chapter/date/place subtitles, though.

Given the decidedly un-Oscar characteristics of most of this year's great films, I would guess right now that this film gets a series of non-technical nominations (Hirsch, Holbrook, probably Penn for writer, and maybe even picture and director as well) and possibly even some wins. It won't make my personal final five, but I would be perfectly happy with it taking home some gold.

[menikmati]

well its so long because the studio wanted to shove, what, like 4 villians into the movie or something? I picked up the first spidermans the other day for 4 bucks a piece, and I've watched the first one (which was ok)...part 2 sometime today.

[thelastgreatman]

If anyone wants to ask John Landis about why Werewolves of London wasn't in An American Werewolf In London in person, Mr. Landis is going to be fielding a Q & A following screenings of that and Tremors at the New Beverly on Dec. 10.

This is part of December's series of screenings, all of which are being hosted by Edgar Wright of Shaun Of The Dead and Hot Fuzz fame. Other nights of the year I might be attending: Dec 12 with the Zucker Brothers, Dec 7 with Shane Black (actually I can almost guarantee I won't be attending that, but in theory it's worth noting).

[mountmccabe]

Heath Ledger plays an incarnation of Dylan that, frankly, I have no idea about the history of; he ends up getting what little conventional biopic material there is here, but apart from that (which is so minimal as to be noticed but forgiven), he does a nice job and is given some strong scenes.

Dylan never acted much; the acting details are stand-ins. Heath - like most of the other characters - is playing an impressionistic Dylanesque character. He's playing a translation of Dylan from a musician to an actor.

And, before getting too far, I love that Charlotte Gainsbourg's Claire was the lead for their sections; the change of perspective not only allows us to see her better but our view of him adds greater depth to the overal portrait of Dylan that the movie presents.

I really liked the fact that half the Dylanesque characters played here weren't musicians.

I didn't like that since Cate Blanchett's parts were so direct and traditionally biopic that they were littered with awkward surrealism and clumsy, blunt symbolism.

I liked that there were parts of the movie that I didn't like, though. That it was challenging and chameleonic and not perfect.

I really liked how the guest artists on the soundtrack worked. And I really liked hearing the songs that stayed in their original versions - but I was a little surprised that there weren't any of Dylan's modern-reworkings of the old songs. That seems like the film's biggest compromise to me. Sure, the credits ends with Sonic Youth and then Antony and the Johnsons but it starts with a clip of the version of "Like a Rolling Stone" released on Highway 61 Revisited. Yes, it's what Dylan fans want... but Dylan fans also wanted him to stay acoustic. And then the ons that caught up wanted him to keep doing that sound. And then to not turn Christian and....


But yeah, basically this was amazing. It is full of flaws, it is full of things taken too far and then abandoned. The narrative is an undercurrent, tenuous. It's also arresting and full of wonderfully set-up moments, fantastic sustained scenes and utter brilliance.

[mountmccabe]

Also I just realized that it's possible that you knew that Dylan wasn't an actor and that what you meant was that you didn't know about Dylan's marriage falling apart.

[schoolofruckus]

I basically knew that Cate Blanchett was playing the early electric-years incarnation of Dylan; that Gere was playing the post-motorcycle-crash hermit Dylan (though influenced by Peckinpah's Billy the Kid, which Dylan had a small role in years after the period in the film); that Marcus Carl Franklin was playing the young Dylan who named himself after Woodie Guthrie. The rest was news.

And of course, I knew it was all impressionism and nothing was directly based on absolute fact, although the Blanchett sections had a considerable amount of concrete events (Newport, Sedgwick, et. al.).

[Yablonowitz]

If anyone wants to ask John Landis about why Werewolves of London wasn't in An American Werewolf In London in person, Mr. Landis is going to be fielding a Q & A following screenings of that and Tremors at the New Beverly on Dec. 10.

This is part of December's series of screenings, all of which are being hosted by Edgar Wright of Shaun Of The Dead and Hot Fuzz fame. Other nights of the year I might be attending: Dec 12 with the Zucker Brothers, Dec 7 with Shane Black (actually I can almost guarantee I won't be attending that, but in theory it's worth noting).

Werewolves of London was such a good fucking movie. Landis never really produced anything of that high quality again.

But can we just talk about "No Country For Old Men" for the rest of the day? The ending just fucking haunted me.

And SPOILERS -


















Do you think the sheriff knew that sugar was in the hotel room when he went in there? Fuck, that movie was so good. I have to see it again. So overwhelmingly good. It amazes me sometimes how powerful of a medium cinema can be.

[miscorrections]

I saw No Country again last night and the lack of a score is so right.

[bballarl]

What's that Dylan movie called?

[Yablonowitz]

I saw No Country again last night and the lack of a score is so right.

Amazing that I never even become conscious that it didn't even have a score. Good point.

[Yablonowitz]

What's that Dylan movie called?

No Country For Old Men.

Go see it now.

[miscorrections]

That was what I particularly wanted to verify this time. The first time I saw it I thought it didn't have music (except for the brief mariachi) but wasn't completely sure because I was focusing on everything else; the second time I made a point of listening.

[miscorrections]

Also I was wishing I had an air gun to murder the woman sitting behind me. She had running commentary and gasps going the whole damn time.

[mountmccabe]

What's that Dylan movie called?

I'm Not There


And yes, Greg, he did. That's my take on it.

[Yablonowitz]

I think it worked to prevent distancing from the realities it was portraying.

[mountmccabe]

That was what I particularly wanted to verify this time. The first time I saw it I thought it didn't have music (except for the brief mariachi) but wasn't completely sure because I was focusing on everything else; the second time I made a point of listening.

Wasn't there at least a low-key score? Are you gonna make me see this again?

Also, I really want to see this again. Such a great movie.

[Yablonowitz]

And yes, Greg, he did. That's my take on it.

Me too.

The end. God damn, the end. I guess that's exactly how the novel ended too. So, kudos to Cormac McCarthy and to Tommy Lee Jones for one of the most profound closures that I can remember.

Sorry...I'm in rapture mode.

[schoolofruckus]

No, that movie deserves it for sure. It's a penetrating fucking film.

Penetrating.

[miscorrections]

Wasn't there at least a low-key score? Are you gonna make me see this again?

Also, I really want to see this again. Such a great movie.

There really is no score. Really. But see it again anyway, it's just as good the second time.

[schoolofruckus]

When Chris and I saw the "Music by Carter Burwell" credit come up, we were both like "what?"

[miscorrections]

Maybe he directed the mariachis. Unless I slipped up last night and did miss some music, which I guess is possible.

[schoolofruckus]

I'm sure there's a little non-diagetic music somewhere, but I can't think of where it was. And if you went for a second time for the express purpose of finding it and are still looking, then that leads me to believe that maybe Carter's credit was just a function of habit on the Coens' part.

[wmgaretjax]

It amazes me sometimes how powerful of a medium cinema can be.

It's also amazing how much the "cinematic perspective" has infiltrated our own way of looking at the world. It's not uncommon for us to view things as a film, editing our field of vision in real-time, and absorbing events and occurrences like a film.

It'll be interesting as technology develops, to see how cinema changes. I mean, we aren't far off from being able to project a quality higher than HD onto a persons retina. What happens when you can plug straight into someone's fucking brain? What does cinema become?

Oops... sorry. Yeah, I want to go see No Country for Old Men again. It was an awesome film.

[thinnerair]

First Look: On the Set of the Thundercats Movie
Warner Bros. is bringing Lion-O and company to a theater near you. Esquire got the exclusive first look.
By Jason Notte (http://www.esquire.com/the-side/thundercats0707?src=sem&mag=esq&dom=gog&ad=g2371&ad_grp=0161&kw=ist&s_kwcid=ContentNetwork|1207432895)

Tell me this is bullshit.

[Neutral Milk Hotel]

I'm sure there's a little non-diagetic music somewhere, but I can't think of where it was. And if you went for a second time for the express purpose of finding it and are still looking, then that leads me to believe that maybe Carter's credit was just a function of habit on the Coens' part.

He did the music for the closing credits. The OST would be one of the shortest soundtracks ever.

PS: No Country for Old Men is absolutely the best film of the year, it's one of two at best I would feel comfortable calling a masterpiece.

[Deviate_420]

SIGNS IS THE BEST FILM THIS DECADE!!!!

[schoolofruckus]

He did the music for the closing credits. The OST would be one of the shortest soundtracks ever.

PS: No Country for Old Men is absolutely the best film of the year, it's one of two at best I would feel comfortable calling a masterpiece.

Have you seen Jesse James? Have I asked you this already? I'm determined to pimp this film down everyone's throats until it gets the respect it deserves.

Also, wait until Christmas (or the day after, rather) before deciding what the year's best film is.

[schoolofruckus]

Trailer for a new Lars von Trier-written film about film school. (http://www.filmtrailer.dk/trailer/824/De+Unge+Aar.html)

Supposedly Lars wrote the script, based on his own film school experiences, and then handed it off to someone else to direct. But he still retains a narrator credit and, supposedly, a large degree of authorial influence over the film. It looks really polished for one of his pieces, though.

Fuck it...it can't possibly be worse than The Boss of It All.

[wmgaretjax]

Fuck it...it can't possibly be worse than The Boss of It All.

I thought The Boss of it All was funny as hell.

tough to read that trailer.

[keriann]

So I recently saw the trailer for Sweeney Todd, and the fact that they only show Johnny Depp singing for about 10 seconds has me concerned.

[Neutral Milk Hotel]

Have you seen Jesse James? Have I asked you this already? I'm determined to pimp this film down everyone's throats until it gets the respect it deserves.

Also, wait until Christmas (or the day after, rather) before deciding what the year's best film is.

Yeah, I forgot to put in the proviso that There Will Be Blood is the one film that could top it, and maybe will.

No I haven't seen Jesse James, I wanted to but didn't have the time, unless it's still playing anywhere.

[mountmccabe]

So I recently saw the trailer for Sweeney Todd, and the fact that they only show Johnny Depp singing for about 10 seconds has me concerned.

I will report back on Tuesday.

[schoolofruckus]

I've been reading really good shit about Sweeney Todd for the last week, including Johnny Depp's vocal performances (now Helena Bonham Carter is another story....). I'm starting to become optimistic that it'll be a return to classic Burton form.

[miscorrections]

I thought Ten Canoes was fucking awful, but maybe I'm just not cultured enough to appreciate it.

[wmgaretjax]

I thought Ten Canoes was fucking awful, but maybe I'm just not cultured enough to appreciate it.

well... Once, Waitress, Paris Je'Taime, The Bourne Ultimatum, Hot Fuzz, and The Lookout all made the list... So I doubt it is that you are not cultured.

[schoolofruckus]

1. Juno [Jason Reitman]
2. Once [John Carney]
3. Eastern Promises [David Cronenberg]
4. Away From Her [Sarah Polley]
5. Margot at the Wedding [Noah Baumbach]
6. Michael Clayton [Tony Gilroy]
7. The Wind That Shakes the Barley [Ken Loach]
8. No Country for Old Men [Joel and Ethan Coen]
9. The Kite Runner [Marc Forster]
10. Syndromes and a Century [Apichatpong "Joe" Weerasethakul]
11. Ratatouille
12. Ten Canoes [Rolf de Heer/Peter Djigirr]
13. Great World of Sound [Craig Zobel]
14. Ghosts of Cité Soleil [Asger Leth/Milos Loncarevic]
15. Offside [Jafar Panahi]
16. My Kid Could Paint That [Amir Bar-Lev]
17. 2 Days in Paris [Julie Delpy]
18. Waitress [Adrienne Shelly]
19. Manufactured Landscapes [Jennifer Baichwal]
20. The King of Kong [Seth Gordon]
[B]21. Sunshine [Danny Boyle]
22. This is England [Shane Meadows]
23. Knocked Up [Judd Apatow]
24. Hanna Takes the Stairs [Joe Swanberg]
25. Bella [Alejandro Gomez Monteverde]
26. The Darjeeling Limited [Wes Anderson]
27. Grindhouse [Quentin Tarantino, Robert Rodriguez]
28. Paris, Je T'aime [Various Directors]
29. God Grew Tired of Us [Christopher Dillon Quinn]
30. No End in Sight [Charles Ferguson]
31. The Bourne Ultimatum [Paul Greengrass]
32. Hot Fuzz [Edgar Wright]
33. 3:10 to Yuma [James Mangold]
34. Year of the Dog [Mike White]
35. The Simpsons Movie [David Silverman]
36. Hairspray [Adam Shankman]
37. Sicko [Michael Moore]
38. Rescue Dawn [Werner Herzog]
39. The Short Life of José Antonio Guitierrez [Heidi Specogna]
40. Forever [Heddy Honigmann]
41. Persepolis [Marjane Satrapi and Vincent Paronnaud]
42. Talk to Me [Kasi Lemmons]
43. Before the Devil Knows You're Dead [Sidney Lumet]
44. Superbad [Greg Mottola]
45. Zodiac [David Fincher]
46. The Savages [Tamara Jenkins]
47. Rocket Science [Jeffrey Blitz]
48. The Signal [David Bruckner, Dan Bush, Jacob Gentry]
49. The Lookout [Scott Frank]
50. American Gangster [Ridley Scott]

Bolding the ones I've seen.

Did they just not see any of the year's truly great films outside of No Country For Old Men?

[schoolofruckus]

well... Once, Waitress, Paris Je'Taime, The Bourne Ultimatum, Hot Fuzz, and The Lookout all made the list... So I doubt it is that you are not cultured.

Did you not like Once?

[wmgaretjax]

Did you not like Once?

no. i was bored, i thought the characters and story line were a flimsy vessel for mediocre music. I didn't hate it. But it is certainly not one of the best of the year.

I saw Into the Wild, and I do not agree with many of you. I thought it was a sensationalized, dewy eyed pic designed to simply canonize an unworthy figure. Penn doesn't bother really investigating the character, he is simply enamored by him. I didn't buy it. You get the sense there is little or no complication in Penn's picture of the guy.

[wmgaretjax]

Put me in ignore if you hate lists OR if you don't fucking care about critics and/or award giving bodies ... but for those who are interested

I think blindly posting lists is pretty uninteresting (I saw both of these several days ago), but if you provide some of your own commentary (and maybe a link instead of posting the four page long list) it'd be cool.

[KungFuJoe]

you saw Sunshine Gabe? I don't remember reading a review by you. I was always curious about your thoughts on the film because I seem to be in the minority on that one. I reallly enjoyed the film, despite it's third act. It was one of my favorites of the year.

That big list up there is horrendous. I really hope and pray that 3:10 to Yuma isn't up for all the awards that Jesse James should rightfully be up for. If so I'm certainly boycotting watching any of that shite. As of right now my top ten would loook something like this. This won't be the exact order of things because I'm sure it will change a great deal by the end of the month. Anyways, here goes:

Assassination of Jesse James By the Coward Robert Ford, No Country For Old Men, Brand! Upon the Brain, Rescue Dawn, Sunshine, Across the Universe, The Host, I'm A Cyborg but That's Ok, Paris Je T'aime, Zodiac and/or American Gangster.

Bare in mind I have a lot of catching up to do and still need to see films such as Eastern Promises, Once, Control, Into The Wild, Gone Baby Gone, Michael Clayton, I'm Not There, There Will Be Blood, Lust Caution, Juno, Persepolis, The Diving Bell and The Butterfly, The Kite Runner, Before the Devil Knows Your Dead, Margot at the Wedding, The Savages, etc.... I expect to knock out a few of these this week.

[thelastgreatman]

Sunshine was good at first, some beautiful visuals, but really fell apart due to the sinking into Event Horizon territory in the third act. Even before that though it lost all credibility with one of the most dubious plot twists in an otherwise fairly realistic sci-fi movie. I mean seriously, they're on a ship specially designed for a mission that involves traveling dangerously close to Sol, their only protection being this special shield, and when they go to plot a new course the navigator FORGETS TO ADJUST THE FUCKING SHIELD? Are you kidding me, Danny? One would think that on a ship that advanced there might be some kind of automatic failsafe that, oh, I dunno... prevents you from turning without adjusting the fucking shield?

If not for those flaws it could have been really good.

[Mr.Nipples]

http://us.movies1.yimg.com/movies.yahoo.com/images/hv/allposters/98/1804555498p.jpg

[schoolofruckus]

no. i was bored, i thought the characters and story line were a flimsy vessel for mediocre music. I didn't hate it. But it is certainly not one of the best of the year.

I saw Into the Wild, and I do not agree with many of you. I thought it was a sensationalized, dewy eyed pic designed to simply canonize an unworthy figure. Penn doesn't bother really investigating the character, he is simply enamored by him. I didn't buy it. You get the sense there is little or no complication in Penn's picture of the guy.

I can't really argue with your impression of either movie - although I strongly disagree with them both. But you did like Before Sunrise, didn't you? I can't see why you would think the characters or storyline of Once would be any more flimsy than those of Linklater's film. Unless you vehemently dislike the music that much.

[wmgaretjax]

I can't really argue with your impression of either movie - although I strongly disagree with them both. But you did like Before Sunrise, didn't you? I can't see why you would think the characters or storyline of Once would be any more flimsy than those of Linklater's film. Unless you vehemently dislike the music that much.

I think a BIG part of it is the music. I mean, that's the disparity between it and Before Sunrise (which I like a lot, but do not love). Before Sunrise wasn't trying to woo or sell me mediocre music. I could take it for what it was. Once simplicity was complicated by the music, and not in a good way for me.

Into the Wild I am being a little harsh on, I was in a bad mood. I'm still not big on the film. I think Penn's idolatry got in the way of how conflicted the story actually is.

[schoolofruckus]

I'll give you that.

[schoolofruckus]

Posting this for the sake of fairness, but I don't want to re-ignite the debate. I lost a little respect for Katherine Heigl with this one.

Sigh....proof that you should always trust the art, not the artist. (http://www.vanityfair.com/services/presscenter/pressrelease/katherine_heigl200801)

[Mr.Nipples]

http://www.movieposter.com/posters/archive/main/1/A70-917

[rage patton]

Call me fucking crazy... but Grindhouse was the most enjoyable movie I have seen this year.

[thelastgreatman]

Posting this for the sake of fairness, but I don't want to re-ignite the debate. I lost a little respect for Katherine Heigl with this one.

Sigh....proof that you should always trust the art, not the artist. (http://www.vanityfair.com/services/presscenter/pressrelease/katherine_heigl200801)

Can you really call her "the artist?" I mean... she's a fucking actress.

[schoolofruckus]

After those comments, I guess the best word would be "mercenary", since she's apparently so willing to forsake her principles and make a movie that turned her into a fucking millionaire even though it was personally offensive to her.

[thelastgreatman]

Seriously. Ungrateful cunt. Yeah, I'm sure it was really hard for her to act like a bitch in front of the camera every day. Sounds like it. Being a bitch definitely doesn't come naturally to her or anything.

[J~$$$]

I went to see Juno last night....kind of. Who the hell lines up two hours before a screening? Anways the movie filled up and we were left to come up with our own vices. I was tempted to sneak in and muscle in on the elderly to give up their seats, but I'll just wait til it opens in most theaters.

[Neutral Milk Hotel]

I'm going to that tonight. People were lined up that early? Fuck.

[J~$$$]

Its colorado, we dont get very many screenings so most in line had blog boners to see it first.

[Courtney]

Emmy-winning actress Katherine Heigl tells Vanity Fair contributing editor Leslie Bennetts that she thinks Knocked Up, the movie that catapulted her onto the A-list, is “a little sexist. It paints the women as shrews, as humorless and uptight, and it paints the men as lovable, goofy, fun-loving guys. It exaggerated the characters, and I had a hard time with it, on some days. I’m playing such a bitch; why is she being such a killjoy? Why is this how you’re portraying women? Ninety-eight percent of the time it was an amazing experience, but it was hard for me to love the movie.”

I don't understand why it is so offensive for her to say that. At least she thinks about it.

[thelastgreatman]

I don't understand why it is so offensive for her to say that. At least she thinks about it.

Because it's offensive to attack two characters out of a story as being representative of ALL womankind for starters. And also because her character wasn't particularly bitchy, I don't know what the fuck she's talking about. Just because her character didn't fall head over heels for the lovable fat slob right away she interprets it as bitchy? Character felt pretty reasonable to me.

But the main point being that attacking a work as being misogynist when there's two main female characters--one of whom is a ball-breaker and the other one just a normal woman who displays a decent amount of both being judgmental and moody as well as being accepting and loving--is fucking bullshit. IT'S TWO WOMEN. That's all. Even if they were both cunts, it shouldn't be taken as a reflection upon all women just because the two characters of this story HAPPEN to be cunts.

[KungFuJoe]

I saw I'm Not There yesterday. I'm glad I did because now I don't feel as pressured to rush out and see Into The Wild, Gone Baby Gone or Michael Clayton before they leave theaters. I'm sure they are all great films, but I doubt they can truly match up to the overwhelming fullfillment I felt after watching this one. Just when I think I saw the best film of the year I have to go and reevaluate my decision. Easily the most inventive & innovative film I've seen all year. This a film of the utmost fearless originality and uncompromising vision. The way it manages to balance it's ideals while having a great amount of fun with the material is what truly holds the film together. I don't know what else to say. I'm not the most articulate whe it comes to reviews. All i know is I loved this film and it stands a great chance to make it atop of my list at the end of the year.

[schoolofruckus]

I wouldn't call it offensive; there's little that deserves that label in my opinion. My word would be questionable, because she read the script and signed up for the movie - knowing exactly what it was about and how - and has since proceeded to become a huge star. If she was so offended, why did she take the money - and all the future career heat she'll enjoy as a result of it's success - in spite of her objections to the material?

It's also disputable because I really don't think the guys are presented as being any more "lovable" than the women. All the characters are presented as being imperfect. The guys are almost all slackers and geeks, albeit sometimes hilariously so. The women may scold them, sure, but they also clearly have their shit together, and if there's anyone's way that "wins out" in the end, it's Allison's because Ben has to learn to be an adult. And the characters are all clearly on the receiving end of affection from the film's narrative perspective. To call it sexist is to see things from a conveniently one-sided poitn of view.

[full on idle]

good luck, Courtney

[schoolofruckus]

I mean, if you want to attack sexism in Hollywood, have at it. For serious. But why talk about "Knocked Up" when you have the likes of "Cinderella Man" or "American Gangster" or any other movie where the females are just asked to play the caring/nurturing/danger-foretelling love interest, rather than a movie that tries to find the humor and the sweetness in the woman's perspective?

[thelastgreatman]

Honestly, this is horseshit. I suppose by this rationale you could call One Flew Over The Cuckoo's Nest sexist too because there's basically just the evil Nurse Ratchet and the whores, but it's bullshit. If you start trying to make artists feel responsible for not putting enough "positive" images of this that or the other group depicted in their movie when there's only TWO fucking roles of that group in the script you're going to end up with incredibly shitty stories.

[schoolofruckus]

Kung Fu Joseph:



I saw Sunshine last week - it was fantastic as well. The ending turns into a bit of Event Horizon-esque horror, which I could see turning some off. But the imagery in that film is some of the most delicious I've seen in quite some time, and the story (though somewhat preposterous) still worked on its own terms.



I agree that there is a significant degree of improbability in the conditions that lead to the ship going to shit, but the film was so fucking gorgeous that I didn't really care.

Glad you loved I'm Not There as well.

[amyzzz]

Gabe, is that a re-post of a really old post? It's not on video yet, right?

[wmgaretjax]

If you start trying to make artists feel responsible for not putting enough "positive" images

I don't think that is what Courtney is saying.

I don't really care about this, but I think the actress is pretty fucking stupid to have not figured out what her character was going to be like from the script/screenplay (not to mention Apatow's other films).

I'm going to see Superbad tomorrow, should be coming via netflix. I have heard good things, but then again, I've hated all these other films. But I love Michael Cera.

[thelastgreatman]

I wasn't saying that's what Courtney is saying, I was saying that's where viewpoints like Katherine's get us. hence, fuck them and fuck her.

[Yablonowitz]

I haven't seen this movie. Are there men and women in it?

[schoolofruckus]

Gabe, is that a re-post of a really old post?

Yes.


It's not on video yet, right?

No.

[Courtney]

I have no interest in arguing when the parties involved are going to get all upset about it and describe women as "cunts" and "bitches" and such just because these women actually call some film out on gender inequalities. That's no way to have a rational discussion.

Gabe, I do see what you're saying, and I can see how you might consider Heigl's choice questionable. Although I personally appreciate it when artists can look back on their work once finished and in retrospect have a clearer understanding of both its strengths and flaws. I don't think that is unusual.

[thelastgreatman]

Way to cunt it up, Court. =)

[thelastgreatman]

Also, bitch was Katherine's term if you want to go back through the article. That's no way for her to have a rational discussion either, then?

[Courtney]

Heigl calls her character in the film a bitch. There's a difference between calling a one-dimensional fictional character a bitch and calling a real person one.

[thelastgreatman]

I don't understand how. If the term is fair game it's fair game. Good for the goose...

[Neutral Milk Hotel]

Its colorado, we dont get very many screenings so most in line had blog boners to see it first.

It's Juno though, there'll be blog boners out to see it everywhere. And hateful people like me who just want to make fun of it afterward.

Oh well, if I end up getting there too early there's always an Amoeba a few feet away from the theater.

[wmgaretjax]

I don't think that is unusual.

I hope not.

I feel like Apatow's films are really typical when placed in the context of our culture (which I personally find misogynist and frustrating in these respects). You can't blame it for being a relatively smart realization of the lame parts of our culture, it's one up on so much stuff out there, but at the same time it doesn't add anything worthwhile or anything investigative to this mix. It's just more noise. I mean, for all intensive purposes, Knocked Up was a "the baby will bring us together" film. Fuck that.

[schoolofruckus]

I have no interest in arguing when the parties involved are going to get all upset about it and describe women as "cunts" and "bitches" and such just because these women actually call some film out on gender inequalities. That's no way to have a rational discussion.

Gabe, I do see what you're saying, and I can see how you might consider Heigl's choice questionable. Although I personally appreciate it when artists can look back on their work once finished and in retrospect have a clearer understanding of both its strengths and flaws. I don't think that is unusual.

I agree with that - most artists learn as much about their work after its completion/public digestion than they did in making it. But in this case, the way she words her complaint, it makes it sound to me like she felt that way even as they were making it. And in that case, why not try to make a difference in that moment?

I completely agree that Randy's uses of "cunt" and "bitch" are a disruption to this discussion.

Randy - Obviously you and I have similar opinions on this question. But you sound like you're more trying to get a rise out of the ladies than to actually hold a discussion. Your points would more than stand on their own if you presented them sans-epithets.

[thelastgreatman]

Jesus Christ, there are few things as irritating as grown people who still try to enforce grammar school policies about what words are appropriate. My points stand on their own regardless, fuck this.

[Courtney]

I hope not.

I feel like Apatow's films are really typical when placed in the context of our culture (which I personally find misogynist and frustrating in these respects). You can't blame it for being a relatively smart realization of the lame parts of our culture, it's one up on so much stuff out there, but at the same time it doesn't add anything worthwhile or anything investigative to this mix. It's just more noise. I mean, for all intensive purposes, Knocked Up was a "the baby will bring us together" film. Fuck that.

I agree. It is significantly better than a lot of the stuff out there, which I think is precisely why it's getting attacked. So much of the junk that Hollywood is producing these days is a lost cause. Apatow seems to be succeeding in setting himself apart by developing the mindless gross-out comedy into something actually watchable. But there's still a lot of work that could be done to more self-consciously investigate the ways in which our culture is choosing to portray people on screen.

[thelastgreatman]

Yes, let's attack the women in Knocked Up, they're quite condemning. Excuse me, but do you fuckwits actually look around at all? Have you seen reality television at all recently? Do you realize the kind of idiotic bimbos that are running around all over the place? Would it be sexist if there was a character like them in the movie? That's real fucking people, they exist.

[Courtney]

But in this case, the way she words her complaint, it makes it sound to me like she felt that way even as they were making it. And in that case, why not try to make a difference in that moment?

I agree entirely that if indeed she initially read through the script and thought it was sexist, then her decision to work on the project and later criticize it in the media was extremely questionable. And it's not like she was some starving artist prior to the film.

[schoolofruckus]

Jesus Christ, there are few things as irritating as grown people who still try to enforce grammar school policies about what words are appropriate. My points stand on their own regardless, fuck this.

I don't give a shit what words you use, but you use them excessively and out of context. When someone's trying to discuss gender politics and your response is interspersed with "cunt cuntity cunt cunt cunt", whatever you're saying is going to get lost. It's inevitablee.

But no matter. Get irritated. Keep calling names. Continue to be taken less seriously than you deserve.

[thelastgreatman]

I used the word "cunt" twice and perfectly in context. "Bitch" is Heigl's word, I refuse to acknowledge any culpability for merely using the term offered up in the point of discussion. And there's no way to take this conversation seriously--it's a bunch of art fags jerking each other off about a non-issue.

[KungFuJoe]

Your review on Sunshinewas spot on on how I feel about the film Gabe. Sure it's not perfect, but it's imagery and score are magnificent. I can forgive a lot in a film if those elements are in place and the themes are strong. This film is a lot better than most people give it credit for.

As for Knocked Up, I don't want to enter the discussion, but I don't get what all the fuss is about.

[Neutral Milk Hotel]

I saw I'm Not There yesterday. I'm glad I did because now I don't feel as pressured to rush out and see Into The Wild, Gone Baby Gone or Michael Clayton before they leave theaters. I'm sure they are all great films, but I doubt they can truly match up to the overwhelming fullfillment I felt after watching this one. Just when I think I saw the best film of the year I have to go and reevaluate my decision. Easily the most inventive & innovative film I've seen all year. This a film of the utmost fearless originality and uncompromising vision. The way it manages to balance it's ideals while having a great amount of fun with the material is what truly holds the film together. I don't know what else to say. I'm not the most articulate whe it comes to reviews. All i know is I loved this film and it stands a great chance to make it atop of my list at the end of the year.

Which Dylan did you like best? Gere's segment is the one that resonated with me the most strongly.

[full on idle]

It seems the fuss is more angry reactions to the possibility of an issue being brought up, rather than being the issue brought up being the fuss. If that makes any sense, probably not.

I'm going to go see I'm Not There tonight.

[Courtney]

It seems the fuss is more angry reactions to the possibility of an issue being brought up, rather than being the issue brought up being the fuss. If that makes any sense, probably not.

That's a fairly accurate summary.

I would like to see I'm Not There.

[PotVsKtl]

That's not accurate at all. Knocked Up is not sexist. Next topic.

[thelastgreatman]

Yay, the voice of reason v. skittles appears.

[KungFuJoe]

Which Dylan did you like best? Gere's segment is the one that resonated with me the most strongly.

I enjoyed the film as a whole. I'm not a fan of Richard Gere by any means, in fact he is one of my least favorite actors, but I agree that his segment was strong. Cate Blanchett's was a treat. If I had to choose one that resonated with me the most I would be apt to say Marcus Carl Franklin's. But like I said, I enjoyed the film as a whole and the way each segment fit into it. I thought Christian Bale was phenomal as always too.

[full on idle]

That's not accurate at all. Knocked Up is not sexist. Next topic.

So what's the fuss about?

[PotVsKtl]

Why don't you ask the people who are vocally and publically wrong?

[TomAz]

this thread gets more action than ronnie at the junior high dance.

[thelastgreatman]

Pedophile face.

[wmgaretjax]

My copy of Heima just came. The movie is definitely a concert film, there is no doubt about it. It is incredibly well shot, absolutely gorgeous. The audio recordings are almost good enough to have tricked me into thinking they were studio tracks. It's the first time I've watched a concert film where I thought I got the perfect impression of who the band where; above and beneath. It's not like "Meeting People is Easy" where you get this snapshot of Radiohead, it literally IS Sigur Ros. If you like the band, there is no way you can miss this. If you like music docs, or concert films, you should see it as well. If you don't know who the band is, see it also.

Today begins my attempt to watch Berlin Alexanderplatz, Fassbinder's 15 hour long mini-series.

Oh yeah... And I just crossed the 200 mark with my burned Criterion films. Almost half way there.

[schoolofruckus]

It's too bad you didn't get to see Heima live in the theater. Both times I saw it, the performance of "Untitled #8" left my fucking ears ringing.

[luckyface]

Only 7 more months...

http://photos.imageevent.com/batmanonfilm/thedarkknightimages/TDK_first-one-sheet_sm_12-04-07.jpg

[iv3rdawG]

It's too bad you didn't get to see Heima live in the theater. Both times I saw it, the performance of "Untitled #8" left my fucking ears ringing.

Well if he lives near any of these theaters he should definitely check it out.

http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4685333&blogID=334389871

http://www.hvarf-heim.com/events/

[wmgaretjax]

Well if he lives near any of these theaters he should definitely check it out.

http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4685333&blogID=334389871

http://www.hvarf-heim.com/events/

Nah, I'm in seattle. i wish I could have. I have the memory of them live.

[Mr.Nipples]

K5le9sYdYkM&rel=1

[wmgaretjax]

i bought that movie at safeway two years ago.

[mountmccabe]

I saw Sweeney Todd last night. I love Burton. I have no idea how he got anyone to approve this movie. It is a fairly straight adaptation of the Sondheim musical. With the songs, even. To match with that it's a very dark story, about a murderous barber bent on revenge and his partnership with a woman that hits upon the idea of cooking the bodies into pies. And it is done with lots of (fake looking) blood.

The fantastic (as in outlandish) musical plot is such a great fit for Burton; his other movies are just as full of unrealistic plot elements that aren't detrimental to the enjoyment of his films.

This London is grey and dirty. The people are much the same, with a few exceptions. And various fantasy/dream type sequences where the overall aesthetic shifts long enough to remind us how drab the base movie is.

I thought Johnny Depp was a fine singer. Helena Bonham Carter gets the second most amount of singing and does particularly well. Alan Rickman probably sings the least of the major characters; he talks more than he sings. Sasha Baron Cohen provides most of the attempts at comic relief but only in brief scenes.

So yeah, a musical bloody enough to turn off most fans of musicals and singy enough to turn off most fans of the macabre. Simply genius. So good.

[miscorrections]

Burton, Depp, and a penny-dreadful were made for each other. I really want to see this once I get the chance.

[roberto73]

National Board of Review of Motion Pictures Awards for 2007:

Best Film
NO COUNTRY FOR OLD MEN

Top Ten Films
(In alphabetical order) THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, ATONEMENT, THE BOURNE ULTIMATUM, THE BUCKET LIST, INTO THE WILD, JUNO, THE KITE RUNNER, LARS AND THE REAL GIRL, MICHAEL CLAYTON, SWEENEY TODD

Best Foreign Film
THE DIVING BELL AND THE BUTTERFLY

Top Five Foreign Films
(In alphabetical order) 4 MONTHS, 3 WEEKS, 2 DAYS, THE BAND'S VISIT, THE COUNTERFEITERS, LA VIE EN ROSE, LUST, CAUTION

Top Five Documentaries
(In alphabetical order) DARFUR NOW, IN THE SHADOW OF THE MOON, NANKING, TAXI TO THE DARKSIDE, TOOTS

Top Independent Films
(In alphabetical order) AWAY FROM HER, GREAT WORLD OF SOUND, HONEYDRIPPER, IN THE VALLEY OF ELAH, A MIGHTY HEART, THE NAMESAKE, ONCE, THE SAVAGES, STARTING OUT IN THE EVENING, WAITRESS

Best Actor
GEORGE CLOONEY, Michael Clayton

Best Actress
JULIE CHRISTIE, Away From Her

Best Supporting Actor
CASEY AFFLECK, The Assassination of Jesse James by the Coward Robert Ford

Best Supporting Actress
AMY RYAN, Gone Baby Gone

Best Ensemble Cast
NO COUNTRY FOR OLD MEN

Breakthrough Performance by an Actor
EMILE HIRSCH, Into The Wild

Breakthrough Performance by an Actress
ELLEN PAGE, Juno

Best Director
TIM BURTON, Sweeney Todd

Best Directorial Debut
BEN AFFLECK, Gone Baby Gone

Best Adapted Screenplay
JOEL COEN and ETHAN COEN, No Country For Old Men

Best Original Screenplay
DIABLO CODY, Juno and NANCY OLIVER, Lars and the Real Girl

Best Documentary
BODY OF WAR

Best Animated Feature
RATATOUILLE

[Deviate_420]

Watching Dead Man and must say, it ties Signs for best film ever made...

[Neutral Milk Hotel]

I have seen Juno:

The movie annoyed the hell out of me for the first half hour or so, what with the pop culture references and snark and self-impressed writing and etc., etc., etc. I was prepared to write the film off. But then a funny thing happened on the way to the forum, so to speak: there's this scene where Jennifer Garner feels the baby kick for the first time and has this kind of beatific look on her face, and I had this feeling in my stomach, a feeling that I later realized was warmth. All of the labored attempts at being witty and hip were annoying and unnecessary, but there's a sweet movie hidden underneath it all, and that movie made me smile. Cera and Garner are a huge part of what makes this work, their characters have this kind of innocence that remains untouched by the self-conscious sarcasm of the rest of the film. So, I can't give this a bad review, it actually made me feel goodwill of all things.

PS: It would have been a much better movie without her cheerleader friend, man was that character fucking annoying.

[chrislasf]

I saw Sweeney Todd last night. I love Burton. I have no idea how he got anyone to approve this movie. It is a fairly straight adaptation of the Sondheim musical. With the songs, even. To match with that it's a very dark story, about a murderous barber bent on revenge and his partnership with a woman that hits upon the idea of cooking the bodies into pies. And it is done with lots of (fake looking) blood.

The fantastic (as in outlandish) musical plot is such a great fit for Burton; his other movies are just as full of unrealistic plot elements that aren't detrimental to the enjoyment of his films.

This London is grey and dirty. The people are much the same, with a few exceptions. And various fantasy/dream type sequences where the overall aesthetic shifts long enough to remind us how drab the base movie is.

I thought Johnny Depp was a fine singer. Helena Bonham Carter gets the second most amount of singing and does particularly well. Alan Rickman probably sings the least of the major characters; he talks more than he sings. Sasha Baron Cohen provides most of the attempts at comic relief but only in brief scenes.

So yeah, a musical bloody enough to turn off most fans of musicals and singy enough to turn off most fans of the macabre. Simply genius. So good.

I am so god damn glad to hear this.

[suprefan]

Trailer for Prince Caspian is on the net, looks cool.



http://www.filmschoolrejects.com/news/must-see-trailer-the-chronicles-of-narnia-prince-caspian.php

[chrislasf]

A man after my own heart.

[Stefinitely Maybe]

I went to see The Golden Compass with my girlfriend and her housemate last night. We all enjoyed it, but it's definitely more of a kids film. Daniel Craig is fine, but not in it for very long. Nicole Kidman is a suitably icy baddie. The fantasy elements are great, and there's some cool scenes, although it all felt a bit like "Lord Of The Rings Light", to me. Really it's a film for young children, or men like Ronnie. I think you know what I'm saying.

[iv3rdawG]

New Persepolis trailer is out, and finally a one in HD. I can't wait:

http://movies.yahoo.com/movie/1809698229/video/5327649/;_ylt=Audjq1SFz3x4zkGU6i.ape9fVXcA

For one in Quicktime go here http://www.drfoster.f2s.com/ and scroll down a bit and you'll see it.

[Neutral Milk Hotel]

Persepolis looks great.

[bmack86]

I have seen Juno:

The movie annoyed the hell out of me for the first half hour or so, what with the pop culture references and snark and self-impressed writing and etc., etc., etc. I was prepared to write the film off. But then a funny thing happened on the way to the forum, so to speak: there's this scene where Jennifer Garner feels the baby kick for the first time and has this kind of beatific look on her face, and I had this feeling in my stomach, a feeling that I later realized was warmth. All of the labored attempts at being witty and hip were annoying and unnecessary, but there's a sweet movie hidden underneath it all, and that movie made me smile. Cera and Garner are a huge part of what makes this work, their characters have this kind of innocence that remains untouched by the self-conscious sarcasm of the rest of the film. So, I can't give this a bad review, it actually made me feel goodwill of all things.

PS: It would have been a much better movie without her cheerleader friend, man was that character fucking annoying.

Well put. There are some definite awkward pop culture referencing moments (Especially with Jason Bateman) but it's a warm feeling movie after it's all said and done. Plus, the Moldy Peaches close out the film. C'mon.

[Neutral Milk Hotel]

Yeah, I really liked that ending, even though I just knew they would throw in one last thing with the runners. SEMI-SPOILER: AND, since they already used Anybody Else But You in the soundtrack, I thought that would have been a great place for Jorge Regula, but I digress, plus maybe it would have confused people. Still, a good movie.

[KungFuJoe]

I went to see The Golden Compass with my girlfriend and her housemate last night. We all enjoyed it, but it's definitely more of a kids film. Daniel Craig is fine, but not in it for very long. Nicole Kidman is a suitably icy baddie. The fantasy elements are great, and there's some cool scenes, although it all felt a bit like "Lord Of The Rings Light", to me. Really it's a film for young children, or men like Ronnie. I think you know what I'm saying.

Would you say it's better than Narnia?

[chrislasf]

Thin ice, Stef.

[wmgaretjax]

saw Superbad.

What a shit movie. Michael Cera is funny in his awkward way, that singing scene was great, but there is no chemistry in the film, and no fucking reason to waste that much time on this movie. The storyline was stupid and ridiculous. I can't believe how well received this movie was. It was a series of stupid dick and bathroom jokes followed by periods of awkward silence.

Ugh.

[wmgaretjax]

revolver finally gets it's limited US release today.

[schoolofruckus]

Glad to hear Sweeney Todd rocks.
Glad to hear Juno isn't as empty as it seemed like it could be.
Dead Man and Signs? That's an odd mix for co-champions in the best film of all time race.
Keep in mind, I'm not saying anything bad about those choices, but they wouldn't seem to be aesthetic bedfellows to me.
The NBR awards were strangely great this year. They're usually a mixture of both tame and odd, with the occasional good call, but the love for No Country, Jesse James, and Diving Bell is a welcome shock.
Speaking of Diving Bell - I watched Julian Schnabel's previous film, Before Night Falls, last night. It's about the Cuban poet Reinaldo Arenas, who was persecuted in his native Cuba on account of his homosexuality, until he eventually escaped and was deported to the U.S. like every other Cuban-American in 1980. He probably shared a boat with Scarface. Anyway, visually speaking, it was an exquisitely composed film, and confirms in my mind that Schnabel is one of the great directors working today. The story was compelling enough, but nothing transcendent. Johnny Depp was good in very limited action as both a drag queen who smuggles Arenas' writings out of jail (via el rectum) and as a Sgt. who interrogates him just prior to his release.
Seeing The Diving Bell and the Butterfly again tonight.

[wmgaretjax]

The Diving Bell and the Butterfly is playing tonight with Schnabel doing a QA... but I can't make it. Oh well, it comes out in a week here I think.

[amyzzz]

I went to see The Golden Compass with my girlfriend and her housemate last night. We all enjoyed it, but it's definitely more of a kids film. Daniel Craig is fine, but not in it for very long. Nicole Kidman is a suitably icy baddie. The fantasy elements are great, and there's some cool scenes, although it all felt a bit like "Lord Of The Rings Light", to me. Really it's a film for young children, or men like Ronnie. I think you know what I'm saying.
Thanks for the review. I'm really looking forward to this movie. The books were more for preteen or teenage children (higher vocabulary anyway), so it sucks if it was geared more towards younger children. Did the movie have any anti-religious overtones? The trilogy sure as hell did.

[Neutral Milk Hotel]

Seeing Eastern Promises tonight. Has anyone here seen it?

[thelastgreatman]

revolver finally gets it's limited US release today.

Jesus Christ, I'd forgotten that you like Revolver. What the fuck is wrong with you?

[wmgaretjax]

Jesus Christ, I'd forgotten that you like Revolver. What the fuck is wrong with you?

we've talked about this remember. I'm gonna see it again. And either I will have changed my mind, or I'll post something more in depth on here.

[amyzzz]

Eastern Promises is GREAT. Definitely a must-see. Should be something about this like 50 pages back.

[Neutral Milk Hotel]

Glad to hear. There's a Q&A with Viggo Mortensen too, I am completely geeking out about it at the moment. AWESOME

[amyzzz]

Viggo? holy crap, that is EPIC. hehe.

[kitt kat]

New Persepolis trailer is out, and finally a one in HD. I can't wait:

http://movies.yahoo.com/movie/1809698229/video/5327649/;_ylt=Audjq1SFz3x4zkGU6i.ape9fVXcA

For one in Quicktime go here http://www.drfoster.f2s.com/ and scroll down a bit and you'll see it.


DUDE. SO FUCKING PUMPED FOR THAT MOVIE. I love those books.

Also, the only thing that bugs me about Juno is that all anyone is talking abotu is Diablo Cody and how she was a stripper and how she got discovered was because she wrote about stripping. Goddammit. I really don't want to become a stripper to get a writing agent.

Juno was, though, a good film. The first 10 minutes were annoying---the dialouge felt completely forced to be trendy, but then, it found a comfortable groove. I laughed, and I haven't laughed at the movies in a long time.

As far as I'm concerned though, one of the best movies released this year is THE SAVAGES. If that doesn't win Best Original Screenplay, I'm gonna cry. Also, Tamara Jenkins will totally get a nod for Best Director.

I'm seeing Sweeney Todd tomorrow night. Pumped pumped pumped.

[wmgaretjax]

DUDE!

[KungFuJoe]

we've talked about this remember. I'm gonna see it again. And either I will have changed my mind, or I'll post something more in depth on here.


I'm very interested to get your second reaction to this. My first was that it was god awful! I enjoyed Statham's performance, but that's about it. It seriously could top the razzies.

I just got back from Diving Bell & the Butterfly. Great film, naturally. With talents like Julian Schnabel and Janusz Kaminski how could it not be?

I also completed EPITAPH yesterday. Can't really give it a full on review because I watched it in a few parts over the course of the week. It was shot well and was fairly interesting for the most part. It came together well at the end, but was a bit laughable at parts and the twist was not that original. It's worth a peep if you have nothing else to do. You can check it out for free at veoh.com - http://www.veoh.com/videos/v1510498NQG4HDqs?searchId=6595512257069171075&rank=4 - Someone posted it up there in 4 parts. Enjoy.

[schoolofruckus]

I liked Eastern Promises, but I wasn't in love with it. I would go in with somewhat reserved expectations. It's basically an above-average Russian mob mystery built around a spectacular knife fight.

I haven't even seen Juno, but all this Diablo Cody propaganda is making me want to backlash like whoa.

And with all the extreme reactions to Revolver, I guess I'm gonna have to see it after all.

[Neutral Milk Hotel]

I haven't even seen Juno, but all this Diablo Cody propaganda is making me want to backlash like whoa.

Yeah, I know how you feel. I would have liked nothing more than to bash this movie like crazy, but I can't. Still, I will say that all of the hype around the screenplay is a bit ridiculous, it's good but nothing special. A lot of people could have written something like this.

[Mr.Nipples]

cb-U3wOt1-E&rel=1

[kitt kat]

Yeah, I know how you feel. I would have liked nothing more than to bash this movie like crazy, but I can't. Still, I will say that all of the hype around the screenplay is a bit ridiculous, it's good but nothing special. A lot of people could have written something like this.

My thoughts exactly.

If the chick wasn't a stripper, no one would care who she was in the first place.

What they should be focusing on, however, is Ellen Page's performance. She was marvelous.

[schoolofruckus]

Trailer for the Wachowski siblings' Speed Racer. (http://movies.aol.com/movie/speed-racer-2008/28066/main)

I'm going to hold my nose and give this one a try, on the faith that the Wachowskis make some of the most purely entertaining films in the world today and this will hopefully be a continuation of that. In their hands, I could honestly see this being a lot of fun. But if there was any other name attached to this trailer, I'd probably piss all over it.

[ruetheday]

gabe get into chat.

[Neutral Milk Hotel]

I liked Eastern Promises, but I wasn't in love with it. I would go in with somewhat reserved expectations. It's basically an above-average Russian mob mystery built around a spectacular knife fight.

Yep. It was a good movie, I don't quite understand some of the praise. The knife fight was sensational (the mere fact of his nudity made it a lot more visceral and effective than most movie fights ever come close to being), but at times it felt like a weird amalgam of a Nancy Drew-esque mystery and a violent Russian mob drama. Vincent Cassel was incredible, and, of course, Viggo Mortensen.

The Q&A was very interesting, Mortensen's a very thoughtful man. He discussed how he listened to Russian poetry and watched documentaries to prepare for his role, and what his working relationship with David Cronenberg is like. I kind of felt bad for him, there were a lot of "fans" there taking his picture constantly and sometimes asking dumbass questions (one of them talked about how all of the folks on the "Viggo message boards" were talking about the rumors that there will be an Eastern Promises sequel (what rumors? would it be Western Promises?) and asked if Viggo felt that the film was complete. Not even he could stop himself from laughing at that one). I was going to go up to him and shake his hand but he got swarmed by a bunch of middle-aged women and then his people ushered him through an exit at the back, so I didn't get the chance.

PS: (SPOILERS BELOW for Eastern Promises and History of Violence)

It's kind of interesting to look at this film in context with A History of Violence. They both seem to be interested in exploring the dual nature of man within a genre framework. Despite the undercover cop plot twist, the film's ending gave me the sense that Nikolai's loyalties might lie with the Family. Much like AHOV, it seems to suggest that there are good and evil present in all men. I brought this up specifically because I noticed that both films end with strikingly similar shots: A History of Violence ends with the shot of Tom at the dinner table with his family, looking troubled and ambiguous, and Eastern Promises ends with Nikolai sitting alone at a dining table at a restaurant, also looking kind of troubled and ambiguous. I wonder if it was intentional.

[Stefinitely Maybe]

Would you say it's better than Narnia?

I haven't seen Narnia, although James McEvoy lives just around the corner from me and I see him in the street all the time.

Amy> There was no overt religious commentary in the film. I think they cut that all out.

[KungFuJoe]

I'm so down with the Speed Racer flick. I mean, Korean pop star Rain & Hiroyuki Sanada! Not to mention Christina Ricci. I know Tessa is down too! Mathew Fox as Racer X. As much as it looks like it could be cheesy I think it's going to be a heck of a lot of fun.

[PotVsKtl]

Could be cheesy? Did you watch the trailer? It looks fucking ridiculous.

[amyzzz]

I haven't seen Narnia, although James McEvoy lives just around the corner from me and I see him in the street all the time.

Amy> There was no overt religious commentary in the film. I think they cut that all out.
That's what my local New Times said.
Argh. Apparently, Phillip Pullman wrote his trilogy as a direct backlash against the whole Narnia thing because Narnia was so overtly PRO-religion.

[J~$$$]

John Goodman hahahahaha its the flinstones all over again.

[J~$$$]

McLovin will be back

http://www.filmschoolrejects.com/news/apatow-and-ramis-to-bring-back-mclovin.php

[schoolofruckus]

The main problem I had with the Speed Racer trailer is the line about racing being "like a religion". It makes me scared that there's going to be some degree of trying to take the story seriously. That would be a grave, grave mistake in my opinion.

[kitt kat]

i'm seeing sweeney todd tonight!!

[schoolofruckus]

That's really cool. May I ask how?

I'm feeling definite excitement and enthusiasm for it the more I hear.

[KungFuJoe]

Could be cheesy? Did you watch the trailer? It looks fucking ridiculous.


It's based on a childrens anime. To me it looks pretty cool and innovative. We'll see how it actually plays out, but I'm looking foward to it.

[Snakeface]

i'm waiting for Be Kind Please Rewind. Jack Black and Mos Def. Couldn't ask for more.

VOTE PLUMP DJ's '08!!!

[schoolofruckus]

Same here. It should be amusing at the very least. They moved it back again - it's now playing Sundance and opening on 1.25.08.

Snakeface.

[wmgaretjax]

i do not have high expectations for Be Kind Rewind, I was really disappointed by Science of Sleep and the trailer did not really impress me.

[ThomThom]

I only have room for two movies this weekend, one of them will unfortunately have to be The Golden Compass...I'm debating on whether I should catch The Darjeeling Limited or I'm Not There as the second.

Hey Gabe, have you been to the Arclight in Sherman Oaks yet?

[schoolofruckus]

I only have room for two movies this weekend, one of them will unfortunately have to be The Golden Compass...I'm debating on whether I should catch The Darjeeling Limited or I'm Not There as the second.

Hey Gabe, have you been to the Arclight in Sherman Oaks yet?

You should see I'm Not There, no question. I liked them both considerably, but one is definitely superior to the other.

I haven't been to Arclight Sherman yet. How is it? I remember that Pacific being a better-than-usual multiplex, so I'd imagine it could only get better as an Arclight.

There's a decent chance of me catching Atonement there this weekend.

[ThomThom]

You should see I'm Not There, no question. I liked them both considerably, but one is definitely superior to the other.

I haven't been to Arclight Sherman yet. How is it? I remember that Pacific being a better-than-usual multiplex, so I'd imagine it could only get better as an Arclight.

There's a decent chance of me catching Atonement there this weekend.

Holy shit I just got the newsletter and noticed Atonement is out this weekend, I completely forgot. If only I could ditch the fucking Golden Compass I would be able to do Atonement and I'm Not There this weekend. Not to mention a Q&A with Joe Wright on Saturday.

Overall Arclight Sherman Oaks is great because of the location, magnificent wall of vintage movie posters that they change weekly (so says one of their employees), and particularly the Arclight bar which hangs on top of the 405 freeway and gives a pretty spectacular view. The Hollywood location will still be pretty ideal for Q&A's and special events, and of course The Dome.

[amyzzz]

I want to do Control, The Golden Compass, and Atonement.

[Neutral Milk Hotel]

You should see I'm Not There, no question. I liked them both considerably, but one is definitely superior to the other.

I haven't been to Arclight Sherman yet. How is it? I remember that Pacific being a better-than-usual multiplex, so I'd imagine it could only get better as an Arclight.

There's a decent chance of me catching Atonement there this weekend.

I saw I'm Not there at the Arclight Sherman, as far as its layout it was pretty close to the Arclight Hollywood, but I will say the actual projection was one of the sharpest most pristine images I've ever seen in a movie theater. It was wonderful, especially for such a visually exciting film.

[wmgaretjax]

I watched Resnais' latest film "Private Fears in Public Places" last night. It's pretty typically Resnais in content, but structurally I actually think it's probably his best film. The acting is superb, and the majority of the cinematography, editing, and presentation are fantastic microcosms of the entire film as a whole. Each shot and transition speaks to the nature of the whole film. It's all wrapped up a little tight, but it's completely forgivable because it's so incredibly thought through. Check it out if you get the chance.

Completely unrelated, but... I love Patsy Cline...

[KungFuJoe]

An early Christmas present to any fans of cheesy action films out there. Which is most likely just me. Anyways, at least wait to see who is supposed to be riding the bike.It's a shame the American version had to tarnish the image of this fun film franchise.

SjtSUngUuSM

[schoolofruckus]

I watched Wristcutters: A Love Story last night. It was a perfectly respectable, reasonably creative little film. Amusing - definitely for fans of dark comedy. I wish it would have been a little weirder - the utilization of Tom Waits in particular. But I liked it okay. Shannyn Sossamon was great.

[wmgaretjax]

I'm glad I passed that one up for Gone Baby Gone in theaters. Sounds like a good DVD rental.

[iv3rdawG]

Apatow Production's Pineapple Express, staring James Franco and Seth Rogen and written by Rogen and Evan Goldberg (Superbad and Da Ali G Show), premiere clip debuted on the Superbad Unrated DVD. Here it is for all of you who didn't buy it.

Also: A couple days ago the film was rated R for pervasive language, drug use, sexual references, and violence.

JyFWfgw8Mb0

[roberto73]

Apatow Production's Pineapple Express premiere clip debuted on the Superbad Unrated DVD. Here it is for all of you who didn't buy it.

JyFWfgw8Mb0

I watched this clip last night, and I'm not sure what to think. While I kind of like the idea of David Gordon Green doing a pot comedy, I don't know how well his usual style is going to mesh with the Apatow/Rogen/Goldberg sensibility. This clip doesn't make me feel any more comfortable with the idea.

[iv3rdawG]

I have faith in Goldberg, Rogen and Apatow. They have yet to disappoint me.

[wmgaretjax]

I watched this clip last night, and I'm not sure what to think. While I kind of like the idea of David Gordon Green doing a pot comedy, I don't know how well his usual style is going to mesh with the Apatow/Rogen/Goldberg sensibility. This clip doesn't make me feel any more comfortable with the idea.

wow. It was all downhill from George Washington for Green. Damn, talk about just fucking bombing when your first release showed so much potential.

[Courtney]

Anybody have thoughts on Margot at the Wedding? I was just invited to a screening, and I'm a fan of Noah Baumbach, but I was looking at some of the published reviews and they're pretty negative.

[miscorrections]

Nothing I can add, but if you do go share your review because that's one I really wanted to see.

[wmgaretjax]

It's playing 3 blocks from me, and I've been tempted to go the last couple nights. I'm considering tonight. I'll post a review if I do.

[Courtney]

Cool thanks. Please do!

[schoolofruckus]

The Pineapple Express clip made me laugh a little, but it wasn't anything exciting. I was also interested in seeing how Green's aesthetic was used in service of an action film/stoner comedy, but from the looks of this, he's not even going to try any of his old tricks. If he has new ones, that's a good thing; if he's basically going to Brett Ratner this thing, then I'm going to be really sad.

Jared - Did you not like All the Real Girls or Undertow? I know some people who also think George Washington is the only worthy thing he's ever done, but I liked his last two as well.

[rage patton]

So I saw the Golden Compass last night. I thought it was extremely well done. The best part? The casting. It was perfect. PERFECT. Nicole Kidman was amazing. Daniel Craig, although a minor character, fit the role perfectly as well. His role will be bigger in the next two films though. Sam Elliot as the air-cowboy was great too. Not to mention the vocal contibutions of Ian McKellen and Kathy Bates.
The main girl in the movie, I forget her name, also did an excellent job. As did all the other children.
Also, the movie had an excellent story. It moved a little fast in the beginning, but it all got pulled together quite nicely. They are some obvious religious symbolisms in the movie, but, having not read the book, I found the story somewhat unpredictable. Quite surprising for a "childrens" movie. I put childrens in quotes, because I think adults, teenagers and children alike will all enjoy this movie. Obviously, most children will not be able to see the movie in the context that its in, rather they will enjoy the fantasic story and stunning effect. Also, the CGI in that movie, was amazing. It looked stunning, for lack of a better term.
In short, I am excited to see the next two and I suggest going to see it.

[wmgaretjax]

Jared - Did you not like All the Real Girls or Undertow? I know some people who also think George Washington is the only worthy thing he's ever done, but I liked his last two as well.

I have not seen All the Real Girls yet. I'll add it to my Netlflix. I liked Undertow, but it was definitely a step down from George Washington. The ending was a bit ridiculous. I enjoyed it though.

[schoolofruckus]

I'd be really shocked if you didn't like All the Real Girls. It isn't as good as George Washington, but it's a worthy follow-up.

I have four movies I could possibly watch tonight, none of which I have seen yet:

Masculin Feminin (Godard)
Zentropa (von Trier)
Dog Day Afternoon (Lumet)
I'm a Cyborg, But That's Okay (Park Chan-Wook)

I'll be taking votes for the next 9 minutes if anyone wants to weigh in.

[wmgaretjax]

Masculin Feminin (Godard)
Zentropa (von Trier)
Dog Day Afternoon (Lumet)
I'm a Cyborg, But That's Okay (Park Chan-Wook)


The first two are fucking classics. You can't go wrong.

Dog Day Afternoon is fun, but a little over-worked.

I'm a Cyborg...was kind of silly, but enjoyable.

Go for Masculin Feminin.

[Neutral Milk Hotel]

Watch Masculin Feminin.

[Neutral Milk Hotel]

Anybody have thoughts on Margot at the Wedding? I was just invited to a screening, and I'm a fan of Noah Baumbach, but I was looking at some of the published reviews and they're pretty negative.

If I make the Persepolis screening I'll probably try to do a double-feature if it's still playing. It looks good.

[Neutral Milk Hotel]

I have faith in Goldberg, Rogen and Apatow. They have yet to disappoint me.

I dunno man, you're right, but really the only stuff they've done of any prominence so far is these kind of authentic human comedies, whereas Pineapple Express looks like more a genre pastiche. Triple post!

[schoolofruckus]

And Masculin Feminin wins in a landslide.

Back in a little while.

[bmack86]

Masculin Feminin. Awesome movie

[Neutral Milk Hotel]

Katherine backpedals:

http://www.people.com/people/article/0,,20165062,00.html

[wmgaretjax]

sounds like she got bitch slapped. weak whore.

[Courtney]

That cunt can't even keep her story straight. Good thing there were men around to straighten her out.

[Down Rodeo]

I just watched The Seventh Seal again the other night. I remember some of the comments a few pages back about this movie being too heavy-handed and such. I still love this movie and think that the directness of the symbolism works very powerfully. Even as a Christian I get a strong reaction out of this movie and still find hope in the ending (although others can also interpret it pessimistically as a statement affirming the absence of God and lack of meaning in life).

Meanwhile, I watched Lawrence of Arabia today, which I thought was an amazing epic. The long shots of the desert and the deliberate pacing were nothing short of breathtaking. I still found it funny that Alec Guinness was playing an Arab, but everything else in this movie was outstanding. That was 4 hours well spent.

[roberto73]

That cunt can't even keep her story straight. Good thing there were men around to straighten her out.

It makes me strangely uncomfortable to see Courtney swear, like seeing a hairy overweight man in a Speedo.

[Courtney]

I was just trying to save people the trouble, because I suspected that those sorts of idiotic comments were soon to follow NMH's post.

[wmgaretjax]

haha.

that laugh was for courtney's avatar. I keep seeing that wonderful t-shirt.

[schoolofruckus]

Masculin Feminin was pretty damn good. It's about the courtship between a young man who just got out of the military and a young woman who's attempting to become a pop singer. I dug the way that the film juggled multiple thematic directions, playing an ongoing game of keep-away with its ideas from the viewer. I'm becoming more and more of a fan of Godard's impressionistic, finger-flipping aesthetic. This one didn't floor me the way that Week-End did, but it was highly enjoyable and fascinating.

Then I decided to watch Zentropa anyway. It was pretty much awesome as well. This one's about a young American who travels to Germany shortly after the conclusion of WWII to - in his mind - "show some kindness" to the country. His primary method of doing so is to work with his uncle as a sleeping-car conductor on the nation's primary railroad line. The film is an early example of the template for much of von Trier's work - self-consciously stylized, with an idealistic American showing benevolence to others until the frustration boils over into violence and retribution. It's odd to think of the godfather of Dogme 95 as one of film's foremost purveyors of artificiality, but when you look at von Trier's stuff outside of Breaking the Waves and Dancer in the Dark (and - though I haven't seen it yet - I assume Idioterne), he is consistently finding ways to keep the audience at a distance from the story by any technique available. Here, the character interactions with rear projection images, the flashes of color that interrupt the stark black-and-white photography (a trick that Spielberg, who was rebuffed in his attempts to bring von Trier to Hollywood after this, would later borrow for Schindler's List), the recurring narration attempting to lure one into hypnosis (another early von Trier preoccupation) - all harshly underscoring the uniquely cinematic nature of the piece. And yet, the farther he pushes me away, the closer I get.

[wmgaretjax]

You should see "Idiots" and "Element of a Crime" Gabe, Von Trier is great.

I saw "The New World." Beautiful, great characters, but felt rushed in the last half hour. Seems to me that's where he cut the 17 minutes from. Does it exist in full form anywhere? One of the most beautiful movies I've ever seen. Loved it, with despite the reservations about the end.

[bmack86]

I watched about 30 minutes of Santa Claus Conquers the Martians last night.
Holy Hell. It's so BAD. Like, impressively bad. I bought it for 1 dollar, and it's worth it for the pain it can impart on others.

[rage patton]

I watched about 30 minutes of Santa Claus Conquers the Martians last night.
Holy Hell. It's so BAD. Like, impressively bad. I bought it for 1 dollar, and it's worth it for the pain it can impart on others.

Worse than Pootie-Tang?

[bmack86]

Most likely.

[schoolofruckus]

Pootie Tang was one of the most enjoyable stoned movies I've ever seen.

Jared, I've seen The Element of Crime. That one's awesome as well. Von Trier is one of my top 5 current directors.

[iv3rdawG]

4 Luni, 3 Saptamini Si 2 Zile aka 4 Months, 3 Weeks and 2 Days will be showing for one week at Lammle's Sunset 5 on December 21st. It will then re-open on January 25th and February 1st.

Trailer: http://www.apple.com/trailers/independent/4months3weeks2days/trailer/

[schoolofruckus]

Everyone in LA can either see this, or turn in your cinephile card. No Door #3.

[ruetheday]

Von Trier is a bitch.

[keriann]

Everyone in LA can either see this, or turn in your cinephile card. No Door #3.

ABORTION!!!!! YES!!!!!!!!

[schoolofruckus]

There's rape too.

Best film of the year, in other words.

[suprefan]

Worse than Pootie-Tang?

Watch ''Cool as Ice'' and get back to me.

[wmgaretjax]

Cormac McCarthy's "The Road" was adapted for screenplay by Joe Penhall and will be directed by John Hillcoat (The Proposition). Guy Pearce and Viggo Mortenson are in talks to play the lead role.

I did not like this book. However, a film adaptation is promising, as it'll hopefully weed out a lot of the heavy handed language that made the book so trite.

[miscorrections]

What in the world do you have against Cormac McCarthy? You always complain about his writing.

[wmgaretjax]

I have only complained about this book. I have done so twice.

I have nothing against Cormac McCarthy. I did not like this book. I liked "No Country for Old Men" though. I have not read anything other than those two.

[roberto73]

I hate to be the lone dissenting voice on I'm Not There, but I saw it today and was bored out of my mind. I understand the conceit of the movie, and the cast is great, but I found it to be a pretty empty exercise in technique that left me completely unattached to the characters and totally unconcerned with anything that happened to them. I'm a big fan of Todd Haynes (and of Dylan), but this was a major disappointment. I don't walk out of movies, but this was the closest I've been in a long while.

[rage patton]

Watch ''Cool as Ice'' and get back to me.

http://xs222.xs.to/xs222/07501/cool_as_ice.jpg (http://xs.to)

Hmmm... I think I am gonna have to pass. Thanks for the offer though.

Anyways, I doubt even that movie is as bad as...

http://i182.photobucket.com/albums/x224/joshmusic88/rollerball_poster.jpg

this movie.

[wmgaretjax]

I hate to be the lone dissenting voice on I'm Not There, but I saw it today and was bored out of my mind. I understand the conceit of the movie, and the cast is great, but I found it to be a pretty empty exercise in technique that left me completely unattached to the characters and totally unconcerned with anything that happened to them. I'm a big fan of Todd Haynes (and of Dylan), but this was a major disappointment. I don't walk out of movies, but this was the closest I've been in a long while.

about a 1/3rd of the audience walked out when I saw it. I'm not sure I cared a whole lot about the characters either, but I definitely cared about they alternative histories fit together.

[bmack86]

I watched El Topo.

Holy Fuck. First off, the cinematography was awesome. There were some amazing shots there. I can't believe some of the areas they filmed in. It's also a supremely surreal film. I felt like I was watching a nightmare many times, and I'm sure some of the imagery will wind up in my dreams tonight, for better or worse. There are some really disturbing/depressing scenes, like the rape and the dead bunnies. Apparently they really shot the crows, and the rabbits died from the heat. And the dead horse was a real dead horse. Suffice to say, this one could not be made today. The story is much too surreal and left to interpretation for me to attempt any sort of meaningful description. The DVD transfer is absolutely pristine. I expected it to be washed out and grainy, but it looked beautiful. The colors were extremely bright and vivid, and the picture was crystal clear.

I'll watch it again, so I guess that's the best support I can give to it. A film that makes you think.

[wmgaretjax]

I'll watch it again, so I guess that's the best support I can give to it. A film that makes you think.

God I love this film, as far as surreal cinema goes, it's only challenged by Holy Mountain and Un Chien Andalou.

[rage patton]

Woh... just found something out. Did anyone know Mike Patton is the voice of the creatures in "I Am Legend"?

[gunfoo]

Woh... just found something out. Did anyone know Mike Patton is the voice of the creatures in "I Am Legend"?

I didn't know that. cool!

Have you seen Firecracker? I wanted to see this a while ago, but sort of forgot about it. Thought it looked really good. I'm interested if anyone has seen it and can offer up a review?
http://www.dikenga.com/films/firecracker/trailer/video/FCT-high.htm

[ThomThom]

Looks like "No Country for Old Men" and "There Will Be Blood" are sweeping the critic's awards, who didn't see that one coming?... Gabe, since you have seen both, I need your pick between the two.

[schoolofruckus]

The best movie of 2007 is There Will Be Assassination of Jesse James By the Coward Old Men. Hands down.

[suprefan]

http://xs222.xs.to/xs222/07501/cool_as_ice.jpg (http://xs.to)

Hmmm... I think I am gonna have to pass. Thanks for the offer though.

]

this movie.

Trust me, its bad, keep in mind its early 90's so that carries more weight on it than it being a movie from a coupel of years ago. See us old folk have seen some s**t movies, ask Gabe.

[wmgaretjax]

Gabe, I fixed the title: The best movie of 2007 is There Will Be Assassination of Jesse James By the Coward Old Men Not There. Hands down.

[roberto73]

There Will Be No Country for the Assassination of Jesse James by Good Luck Chuck.

[ThomThom]

But of course The Academy will choose "Charlie Wilson's War on The Kite Running American Gangster" instead of "There Will Be Assassination of Jesse James By the Coward Old Men Not There."

[wmgaretjax]

I'm seeing Sweeney Todd and The Diving Bell and the Butterfly next week.

[mountmccabe]

I saw Juno at UCLA. I hadn't heard of it until last night. At first I was worried about it being painfully quirky, and it was at times, but there was actually an impressive human heart beating beneath all the quirk. Like I said, I left very pleasantly surprised. And, I got one of the jogging shirts that Michael Cera wears in it.


I have seen Juno:

The movie annoyed the hell out of me for the first half hour or so, what with the pop culture references and snark and self-impressed writing and etc., etc., etc. I was prepared to write the film off. But then a funny thing happened on the way to the forum, so to speak: there's this scene where Jennifer Garner feels the baby kick for the first time and has this kind of beatific look on her face, and I had this feeling in my stomach, a feeling that I later realized was warmth. All of the labored attempts at being witty and hip were annoying and unnecessary, but there's a sweet movie hidden underneath it all, and that movie made me smile. Cera and Garner are a huge part of what makes this work, their characters have this kind of innocence that remains untouched by the self-conscious sarcasm of the rest of the film. So, I can't give this a bad review, it actually made me feel goodwill of all things.

PS: It would have been a much better movie without her cheerleader friend, man was that character fucking annoying.

I will third most everything here. The story was good but the dialogue was annoying as often as not. It was played neither confidently enough nor naturalistically enough to work.

The movie supports/presents a sort of traditionalism but it is a broad and mostly accepting traditionalism. It does not support aging wanna be hipsters having mid-life crises.

I disagree with NMH's PS; Olivia wasn't the greatest character but she provided both a good friend for Juno and an interesting contrast. She was supposed to be a bit annoying; she was there to remind us how young Juno is and how young she could be acting.

Jennifer Garner, Ellen Page and Allison Janney carried the movie. Michael Cera and Jason Batemen and J.K Simmons all played much more simple characters; Batemen was a little rough with what he had to work with but the other two did well.

I LOVED the work by Kimya Dawson. She did a very good job with the music even if she was mostly amping.

Also the shirt I got has the comic book cover on the front.