can't wait for this!
can't wait for this!
I watched a really wonderful doc last night called Ladies and Gentlemen...Mr. Leonard Cohen on Netflix. It expires on 7/23, it's only 45 minutes long, and it covers his early poetry/writing years, before he had ever really attempted music. Highly recommended, especially if you're a fan of the man's lyrics.
The footage they showed for the Godzilla film at the panel was so awesome. I missed the encounter thing though...
They are releasing Predator on blu-ray for the THIRD time. What are the odds that picture quality will be good this time? How many times can you screw up a transfer of a movie, especially that one?
That's pretty fucking cool ... cr
Have Another Hit Of Colorado Sunshine
Latest Grandmaster trailer does a better job...
Also, is there any slowing Donnie Yen down? This looks bad ass.
and this could be good?
and this just looks ridiculous
Last edited by KungFuJoe; 07-23-2013 at 07:28 PM.
Hot off LACMA's tail; perhaps of some interest to LA folks in here. Mark has put out some fantastic film/tv show landscape prints since he started releasing stuff last year and Kubrick is going to be a great pairing for him I think.
He does 12x36" stuff like this one which will be in the show:
It's pretty amazing how expectations can affect things. After being really astounded by Bronson and especially Valhalla Rising, I couldn't contain my excitement when Nicolas Winding Refn announced he was going to be releasing Drive. But the film didn't nearly meet my expectations, I should go back and watch it again but I pretty strongly disliked it.
So, after hearing nothing but really negative things about Only God Forgives, I went in not expecting a whole lot at all. I thought it was spectacular. I totally get why it's been a really poorly received film, though. It's very alienating, incredibly violent, and the script is laughable at times. But this film is impeccably made - stylistically it reminded me a lot of The Shining and Eyes Wide Shut, of all films (I later found out the latter was shot by the same person). There were several scenes with very little dialogue and drawn out stares between characters, something that can become almost farcical if not done right, but it was really affective in this. The score and sound design were absolutely harrowing...the characters were these petrified shells that rarely spoke, but when they did it was often with complete silence around them, reminding me of David Lynch at times as well. Vithaya Pansringarm played one of the most ruthless villains in recent memory, and Kristin Scott Thomas was sensational as the crime family matriarch. This isn't a comfortable film to watch. It'll make you squirm several times throughout. But go into it with an open mind and let it overtake you.
Speaking of which, i just completed ADR for Bryan Cranston for the television broadcast of Drive about 15 minutes ago. He only swears in 2 quick lines so it was a piece of cake...I feel bad for the people that are going to have to dub Ron Pearlman's lines.
Drive is also the name of the X Files episode that launched Cranston's career. /boring aside
Ha, I actually was looking at his wikipedia page yesterday to see if another project I worked on had been announced and read that.
What did they change his lines to?
I miss the days of bad curse word substitutes, such as:
"Yipee-Kiyay, Mister Falcon!"
"He told me to go stuff myself, and then he called me a maggot."
"I used to call the old man funny names. 'Iron Butt.' 'Boner.' Once I even called him... 'airhead.'"
and my personal favorite,
"This town is like one big chicken, just waiting to get plucked."
First thing to establish - it's not a biography of Ip Man (a character whose blankness is supplemented by the virtually-guaranteed charisma of Tony Leung) regardless of what the press notes, Wong, or even some parts of the film claim it to be. In fact, Wong omits so much of Ip's story (and I'm talking huge life events that would immediately count as set pieces in almost any non-Haynes biopic) via voiceovers or title cards that it reminded me of Bresson, so singular is the director's focus on the segments that play directly to his lifelong thematic obsessions (you guessed it - unrequited love over a long stretch of time). There are also prolonged stretches where his exquisite visual stylings are as potent as ever, especially in a jaw-dropping fight sequence at a train station that serves as a microcosm for the whole film - gorgeous, poetic, and wholly uninterested in its purported subject (Ip Man isn't even in the scene). Where the film fails to earn the Bresson comparison on a qualitative basis is in its lack of restraint toward the pieces that don't fit into Wong's wheelhouse; most of the scenes that don't involve Ip's lingering non-relationship with Gong Er (the ever-radiant Zhang Zhiyi) have a palpably low pulse, and probably should have been excised altogether. Moreover, the half-hearted commitment to biographical convention manifests in several emphatic, Cinderella Man-style scenario establishments - voiceover identifies the location/date of the next storybeat, followed by a cut to that location with a title card that repeats the same info - which exist for no discernible reason, and only serve to highlight the yawning chasms in the narrative when viewed from the prism of Story of Ip Man. I'm not sure how the blame for this conviction deficit is to be distributed between Wong's legendary indecisiveness, and Harvey Weinstein's legendary intolerance for screen time; as much as Wong's allegiance to each scene varies, the movie definitely feels fucked with in the same way that recalls nearly every other Weinstein film that doesn't read as Oscar bait (also, any film from Asia).
The result, as I said, is anything but clean, but it's still absolutely worth seeing for any longtime WKW fan. I suspect that applies to many of those who will read this.
It's definitely extremely polarizing. i can't wait to see it - i imagine I'll really like it.
Also, i finally got to see Stoker last night and really, really loved it. it is such a technical marvel - the cinematography is incredible, the production design immaculate (the colors in this movies are insane!), some of the most impressive sound design and sound mixing I have come across in ages, and some of the most elegant editing I have ever seen. It's filled with great performances - I'm a huge fan of Matthew Goode in general and he is such a delight in this role, and Mia Wasikowska really surprised me, she really lived that role. it's a weird script to be sure, but it's such an impeccably well put together film and mood is so haunting and weird and troubling that I found it totally compelling and fascinating from the very beginning.
I like most of his work, even Drive, but not this.
Last edited by buddy; 07-25-2013 at 10:21 PM.
Edit: just to be clear, i didn't hate this movie, or think it was anywhere near it's terrible reviews. It seems Refn borrows so much from others Jodorowsky, Kubrick, westerns, that there isn't much of his own left.
Definitely a beautiful movie to look at. Gosling's character again doesn't provide much, but at least in Drive the other characters maintained interest. And, a film with two main characters who make Clint Eastwood's character from The Man With No Name series seem talkative. But, by all means give it a chance maybe you'll like it.
Last edited by buddy; 07-26-2013 at 08:48 AM.
So I watched Rapture-Palooza tonight. Don't get me wrong it's a cheesy Lower A High B movie that just isn't very good, but holy shit I haven't laughed so hard in a long time. If you are just looking for a stupid comedy with cheap laughs I recommend it.