Not really. I just type them all out here.
Also they did discuss JGL's feelings transferring to Willis; how he would eventually forget his wife, etc.; it was the main motivation for him trying to be so quick with the angry killing. Also JGL only truly knew where he stood at the end; if we were being generous we might find a brief pause on Willis' part and attribute it to JGL growing up (I would have to re-watch to see if such a thing is actually there).
I think the least believable thing about that is the idea that they all lived 30 years and all lived through their abductions.
Last edited by mountmccabe; 01-02-2013 at 06:30 PM. Reason: fixing spoiler colors
2014 Collaborative Playlist on Spotify.
Seeking a bit of a breather from the 2012 movie tear I was on over the holiday weekend, tonight I watched Godard's Pierrot Le Fou. I really connected with this one much better than some of his others, probably my second favorite of his behind Breathless at this point. I know a reoccurring theme of his tends to be the distance between men and women, and their utter incapability of understanding/eventually accepting the other...it's been a bit more subtle in films like Contempt as in this it was definitely at the forefront. And sometimes I don't do too well with subtle, so I gladly accepted the on-the-nose way that theme was depicted this time around. It did end in a fashion that left me feeling a bit detached, but with Godard I'm used to that by now haha.
Last edited by TallGuyCM; 01-02-2013 at 11:54 PM.
Bande a part is my favorite Godard film, and the first that clicked with me. Made me enjoy his other films loads more both going forward and revisiting.
Caught Amour at Laemmle's Royal Theatre last night. Good film, but it won't crack my top 5 of 2012. However, this was my first time seeing a movie at the Royal in over 5 years. When did they renovate this place? This theater was much nicer than I remember and I look forward to seeing more films there.
Saw Django yesterday. I liked it a lot. I thought the ending was a tad bit drawn out but other then that no complaints. I think the best part of the movie were the songs he chose to use in certain parts. Like when Freedom was playing during the fight scene had me cracking up. The N bomb was said a lot but I didn't think it was as violent as some people have told me.
Yeah, a dude getting ripped apart by dogs isn't violent at all.
I thought the Mandingo wrestling scene was absolutely revolting. It was so brutal, it was hard to watch.
Tarantino was on Terry Gross's show earlier this week, and he said that all the violence in his movie is justifed because all that (Mandingo wrestling, torturing slaves who misbehave, having slaves ripped apart by dogs)actually happened, and he wanted to portray an unflinching record of that. Of course, some of it is just fun violence and devices from the spaghetti western genre.
Speaking of positive associations and renovated theaters - last night was my first visit to the Sundance Cinemas Sunset location, which used to be the Laemmle Sunset 5 (my former favorite theater in LA). I'm not entirely sure how much I love the high-class, rustic-in-quotation-marks aesthetic, but the beer selection and menu look pretty promising; I'm also inclined to love the room simply because I have seen so many great films there. Something about walking outside and riding down the escalator and thinking "holy shit, that was great" that just feels right, And while my last trip to the theater was the terrific closing-night doubleheader of Another Happy Day and Rampart (both of which I was quite fond of, the former especially), my first film post-facelift keeps the tradition alive - Joe Wright's Anna Karenina is awesome. I haven't read the novel, but it's reasonable to assume that the complex gender politics and impeccably interweaving of ideologically conflicted relationship should be credited to Tolstoy. However, Wright gets full credit for the film's thrillingly audacious staging, pace and setting - the central conceit being that it takes place in a live theater, incorporating the stage, backstage, perms and audience into multiple different sets. It's tough to describe the effect sight-unseen, but it's an inspired stroke of brilliance for a narrative in which so many choices are made under the consideration of societal scrutiny. Also, how is Keira Knightly so fucking great in Wright's movies, and yet so terrible in almost everything else*?
* - Spoken as a fan of her work in A Dangerous Method, if not the film itself.
When's Schwartzeneggar going to make another movie, greatest movie star of all time, your fans are waiting.
"why are you so annoying" TheKlein25
Did anyone see Hitchcock? The dvd screener just leaked, wondering if it was worth watching?
Coachella: 4/10-12 @ Empire Polo Fields
I saw Jack Reacher yesterday. I liked it a lot though it felt like I was watching a made for TV movie some of the time. However, I really like the way Christopher McQuarrie directs suspenseful action. There are some really great scenes in it. They could've done a better job with the fight scene at the end though. Werner Herzog is awesome and I much preferred his villain role to Javier Bardem's in Skyfall. It's definitely not a film to rush out and see in a theater at full price, but I'd redbox that shit as soon as it hits.
Finally saw flight. I'm sure Daniel Day Lewis is going to get the best actor for Lincoln, but Denzel really needs to get some votes for it. The movie as a whole was good but I thought Denzel was great in it. And the Goodman character reminded me so much of Walter.
Saw Django Unchained and i really liked it. I agree that the violence was over the top, but i think most Tarantino movies are like that. The talked about scenes were very brutal, but the gun fights and violence are pretty on par with his other films. Biggest issue with the movie: Why didn't Django save his friend!! He just stood there while the one guy left a gun was turned around...what a dick
Yeah, I caught Django Unchained yesterday at the New Beverly (its only 35mm engagement that I've been able to find so far) and fucking loved it. The length didn't bother me at all; I mean, it would be very easy to identify several chunks of the film that could be lifted in the name of cutting it down to a more plot-favoring 90 minutes. But as I've said many times in one form or another, Tarantino's films work best as a hang experience where we're invited to spend a generous amount of time with some of the most colorful, profanely eloquent characters in modern cinema - and on that count, Django Unchained is ecstasy. It's easy to liken Django to Inglourious Basterds, being an obvious cousin in Quentin's ongoing historical revisionist phase, but I think it has more in common with Kill Bill, in that the "vengeance" is motivated as much by the pursuit of a loved one as it is the desire to slaughter an enemy - a crucial different that helps assuage my own aversion to violence as entertainment. Also, the narrative is strengthened by the primary target of said vengeance and the antagonist being the same person (as opposed to the previous film's splitting these functions between Hitler and Landa), and also by that person being played by DiCaprio in one of the finest performances in a career full of great ones.
Every other actor is equally tremendous, including Jamie Foxx (who I like in some things but was easily the biggest wild card going into this - an uncertainty that seems impossible in light of just how perfect he is here) and Samuel L. Jackson (who reminded me, for the first time since maybe Black Snake Moan, how fucking great he can be when he decides to play a real person rather than an Avenger). Definitely my favorite Waltz performance so far also.
I have only seen like 40 movies from last year, so the idea of making a Top 10 list at this point feels silly. But when I ultimately catch up with the myriad new films I've been meaning to see and make such a list, this will almost certainly be on it.