wow. he seems like an incredible film maker.....I was actually going to watch something of his but I dont think I will after that clip. Spring Breakers I'm sure will be entertaining and sexy but anything other then that I don't know.
Gummo had me cringing in disgust (the kid in the bathtub eating the spaghetti and chocolate bar - AT THE SAME TIME!) and laughing out loud (those shirtless guys destroying the chair in the kitchen).
We're here to play some Mississippi Delta Blues. We're in a horrible depression, and I gotta admit - we're starting to like it.
2 Live Crew member Luther Campbell:
“Quentin Tarantino’s Django Unchained is a brilliant flick that more accurately depicts the African American experience than any of the 15 movies about black culture Lee’s directed in his lifetime. Lee needs to get over himself. He’s upset because Tarantino makes better movies. The man who put Malcolm X on the big screen is Hollywood’s resident house negro; a bougie activist who wants to tell his fellow white auteurs how they can and can’t depict African Americans. Spike is upset because Samuel L. Jackson’s character in the movie is just like him: a conniving and scheming Uncle Tom,”
I caught Jacques Audiard's Rust and Bone last night. I was on the verge of blowing this off entirely due to what I'd heard about its heavy quotient of melodrama, and also the prominence of a Katy Perry song. It certainly has both of those things, and yet the film is remarkably substantial, inserting a complex view of gender identity and class disparity in a story that could have easily confined itself to the jerking of tears. I'm a little thrown by the film's final moments, which take on a metaphysical quality that didn't seem entirely justified by everything that had come before.... but it still sort of works as I think it was intended, and in no way diminishes the film's many strengths. Marion Cotillard is, predicatably, even better in French than she is in English (and it's not as though she's less than magnetic, ever), and Matthias Schoenarts brings an uncommon depth to this sort of brute id-man; comparisons to Tom Hardy are well-founded. I guess I should finally make a point of seeing A Prophet and The Beat That My Heart Skipped. One of the better 2012 films I've seen.
I fucking hated gummo.
Yes, Randy. But it's been well established that I'm more easily impressed than you.
I definitely can't say that I've connected with any of his films either, but I do find them worth watching. He has a style of filmmaking that I find to be dubious more often than not, yet it's mostly refreshing.
In an era where so many filmmakers stick their fingers in the air to see which way the wind is blowing, if nothing else I respect the fact that he sticks to his convictions. Beats the hell out of watching yet another cutesy indie flick.
I normally try to watch, you know, good and/or great movies, but something about this article made me really want to watch Chopping Mall:
I think this would make for a nice midnight movie.
Sorry to interrupt this serious discussion of Harmony Korine.
Korine's alright. I watched Kids way too young, but I guess that's the point.
I watched Dreyer's Vampyr tonight. Good fucking god. My first silent(ish) film...seriously incredible. The swirling, hazy, half-destroyed footage just added to the haunting cinematography and the strong performances throughout. A beautiful nightmare...
You all should try Mister Lonely - it reveals much about his worldview (notably, his sense of empathy) that isn't immediately apparent in Gummo, Julien Donkey-Boy (both of which I think are masterful) or Trash Humpers (which even I'm not terribly in love with, fascinating though it is). It also does so in the context of a relatively traditional narrative, as opposed to an abrasive pastiche.
Jen and I watched Dear Zachary on Friday night. I was under the impression that this was a landmark documentary of some sort; in reality, it's the most poorly made movie in the history of people making fucking movies. God DAMMIT is this thing a miscalculation....I don't know this filmmaker felt the need to cut this entire film at the speed of the most frantic scene in Tony Scott's filmography, but let's just say that it does it's true story (admittedly fraught with the sort of real-life devastation that can't help but shake a person) no fucking favors. Part of me is inclined to credit the film - which is essentially a document of the life and death of a young doctor who was murdered, made by his best friend - for withholding its ultimate reason d'etre until the final moments, but given how awful the filmmaking is for the entire duration (it's literally the sort of film that spends its final 10 minutes saluting the heroism of the dead guy's parents in completely unambiguous fashion, and then follows that up with a Ron Howard-esque title card dedicating the film to them), it's more likely that happened because the filmmaker edited chronologically as the events played out and happened to luck into an evolving narrative. I'm sure some will think I'm an asshole for criticizing the sincere efforts of people who have gone through this sort of trauma, but let's all acknowledge that the courage shown by these people in the face of tragedy doesn't mean the movie has a fucking iota of value beyond making people cry.
Hahaha. I didn't have as intense of a reaction to it as you did (my review is in here somewhere), but it's definitely a deeply flawed film that does a major disservice to its story.
And I don't know what all of you fools are talking about, Gummo is one of the most re-watchable and entertaining films I've ever seen.
Anyone seen the documentary on the Whites of West Virginia?
My ex factory foreman, born and raised in Boone County, West Virginia, used to tell us stories 'bout these folks all the time.
Last edited by VigoTheCarpathian; 01-20-2013 at 07:54 PM.
The Master is back at the Arclight Hollywood in 70mm, starting this Friday: