review. You guys, the real visionary is Paul W.S. Anderson.
Watch [REC]3 Genesis. The co-director of [REC]2 ditches the Handicam and turns one of the best modern horror franchises into a goofy religious horror-comedy.
Watch Sleep Tight. The real director of the [REC] series turns in a surprisingly effective thriller about an apartment manager who just can't stand to see his tenants happy.
I have literally only read the first paragraph oof that so far, but isn't this
The exact opposite of what one wants to do as a filmmaker? Is this writer 16?Andersonís images vivify the entire expanse of the wide screen to keep your eyes busy surveying the breadth of action
EDIT: This is satire, right?
10/22/14 - TV On The Radio @ Regent // 11/9/14 - Bad Religion @ Mayan // 11/14/14 - Death From Above 1979 @ Regent // 11/16/14 - Lucero @ Echo
Paul WS Anderson and Len Wiseman do the same thing: make crap movies for their hot wives to star in and have a gun in each hand. Hell, I wouldn't be surprised if they are the same dude. On top of that, the Resident Evil and the Underworld movies look the same to me, outside of maybe the difference in color palettes.
I have had the distinct displeasure of meeting Rex Reed a few years ago. He's just a bitter old queen who probably still holds grudges over his own failed career as an actor.
Saw the Master in 70MM at Landmark - they went off with the cigarette burns in that film! Some parts felt like it they were dragging their feet, but overall there are two main themes in this movie to really explore: Bromance and Filipinos: Are they really that scary when 3-5 are chasing after you?
Hats off to the set design and art department for the time period, I know PTA loves his accuracy of time periods, the department store model makes one question when that job was dropped for manequins.... I'll definitely want to watch this again, Joaquin Phoenix is the man, so chaotic, lonely and dim all at the same time. I really felt when he was near what he desired, the beast within settled down, only to find another reason to lash out at the world. His character and the rest of the cast really reflect PTA's skill as a director. Amy Adams' performance is one that many may overlook, but I felt every time she had a moment on screen she gave a portion to the rest of the cast, but when she had her moment, she fucking made it known. The bathroom HJ with PSH. That's a fucking wife.
I know I'm not the only one who enjoys having a director like this apart of our generation. Definitely a film maker who gives his audience some material to digest.
Any one catch a showing of the Raiders of the Lost Ark rerelease? Its showing at the AMC here in a regular theater digital projection but I see its elsewhere in the liemax screens? But not at the true imax like at rave or citywalk? Weird and confusing. Anyways, worth going in some fashion im sure?
Meanwhile, the blus are out, and I hear they look really great, especially Raiders, since they did a new restoration and 4k transfer on that one.
I believe it's the same restoration being projected in theaters for Raiders but yes I don't get the point of putting it on the iMax screens of any size. Ive never seen it on the big screen so I guess I'll go check it out.
I think you could wait for a smaller theatre to screen it? The theatre off Beverly/La Brea has a lot of awesome screenings ALL of the time.
The Aero in Santa Monica WAS going to screen the new transfer of Raiders last month, but it got cancelled. I am guessing the wider theatrical re-release had something to do with that...
I'm old enough that I saw Raiders of the Lost Ark on a big curved 70mm film screen in its original release. I remember Toht's spectacles looking all creepy and kinda stretched due to the curvature of the screen on the side.
I loved this movie. Best part is my daughter wanted to attend all four films on one ticket at the local AMC - and skip the 4th movie. Good kid.
You've done well for a parent.
Gabe and I watched the Master tonight at the Dome. I'd highly recommend repeat viewings: I felt more of a connection with the characters and had more of an understanding of some of the more obscure twists and turns of the film. Freddy is a fascinating character, and I kind of can't wait until I see it again to get more out of his relationship with Dodd.
Yeah, I'm now very much of the opinion that The Master is, in fact, the landmark movie I had expected it to be. It has not necessarily been easy for me to reach this conclusion. After feeling eluded by the movie both before (missing the Aero sneak premiere; desperately avoiding the avalanche of online coverage during Venice and Toronto) and during my first viewing, I felt exhausted by the time I reached the end credits, confounded by a film that seemed to exist for the sole purpose of subverting my expectations. In spite of all there is to like about it, I walked out of it admiring much but feeling very little. Anyone familiar with my filmgoing life knows that this is not how I customarily respond to Paul Thomas Anderson movies.
But over the next couple of days, it occurred to me that part of my reservation was because the movie I thought I'd be seeing - which wasn't so much an "expose" of Scientology, but perhaps a more wide-reaching portrait of its impact - was not what PTA delivered, and that this was, in fact, totally in step with the reasons I'm drawn to his work. For a guy who has traversed so much of recent American history in his movies (I saw it pointed out this week on Twitter that his movies have covered ground in nearly decade of the 20th and 21st centuries), he's always felt decidedly less interested in drawing deep sociopolitical allegories than in telling stories of individual people. In this film, that puts the focus squarely on the relationship between two men of kindred spirit in the truest sense of the word (they couldn't differ more greatly on the surface), whose relationship is consistent only in the vagary of its true nature and the extent to which it impacts them permanently. Watching it a second time, I was amazed by how powerfully its narrative form translates those feelings.
As I said initially, it's critically important to be patient with this one. I feel like the current culture of film consumption is increasing its emphasis on instant reactions as final stances; it's a shame in general, but it's especially frustrating with a movie like this. The truly great, unforgettable films have always improved over time, and many don't even begin to reveal their powers on first viewing. In my mind, it's only a matter of time before The Master joins those ranks.
Guess I need to find out how much longer the arclight hw will have the 70 mm prints.
A weekday is a great day to see the 70mm - cheaper and less people. A lot of places are doing 70mm in the LA area I believe.
It's actually not that many. There are two 70mm prints at Arclight Hollywood (one of which is the Dome), and one or two at The Landmark. There are only 16 total 70mm prints of The Master, so the rest are in New York or traveling around to other areas. At least seven more cities get it in 70 tomorrow and I'm sure they're trying to add other cities if they can find the right rooms.
Obviously, 70mm is the only acceptable format if you have that option. So do NOT wait to see it (or see it again) in the format.
Oh wow, bummer for everyone else not in NYC or LA. LA people connected in the industry through unions: There are screenings of it right now in 70mm. So you don't even have to pay to see it.
I'm just so happy the 70mm thing ended up happening at all, so fucking rad.