Interesting. I've loved all his other films for one reason or another, but haven't seen Only God Forgives yet.
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.
A woman seeking out the livelihood of her son and sister in war ravaged southern Lebanon. It's a heart puller for sure, but the cab driver male character sprinkles in some humor to offset it a bit. Best movie I've seen in a while.
I think I'm going to fall on the positive side with Only God Forgives. It was much more effective than Drive for me; I think some of my issues with the previous film derived from Refn's half-hearted and uncharacteristic attempts at narrative structure and, for lack of eloquence, sweetness (you all know how I feel about Carey Mulligan and any film that attempts to place her in a romantic context). Only God Forgives can be accused of many, many things, but there isn't a single person on earth who would believe it to be attempting those qualities. But while the filmmaker's doubling down on his impressionistic sick-fuckery yields a form of aesthetic purity, it's a much more hollow experience than the ostensibly similar Valhalla Rising. Refn's new film matches his only great film in hypnotic sensory overload - OGF uses black space onscreen more strikingly than any film I can recall in the past several years, and contains a masterful soundscape juxtaposing Lynchian silences with one of the best scores in Clint Martinez's distinguished career - but where Valhalla had something vaguely resembling an emotional core (the paternal shadings of the relationship between One-Eye and the kid) and a potent allegory concerning a society's sacrificing values in the name of acquisition, OGF has virtually no handle on recognizable human behavior, or on any other subject beyond hacked limbs and shredded sternums. It's one of the most heinous visions of existence that I've ever seen, fueled by dread and distrust and violent torture and familial bonds that rise to the level of poisonous on Thanksgiving. Which is, I think, exactly as Refn prefers it to be.
"The Act of Killing" was incredible. Really one of the most disturbing and thought provoking films I've seen.
I was in Medan a few months ago. Gives me chills thinking who was walking down the streets with me. I had
never even heard of the holocaust in Indonesia.
Then I will hold you down and spit her percolations all over you until you're as greasy as the day she regrets pushing your big fat ass out her big fat cunt.
I watched two films today. Martha Marcy Mae Marlene was a spectacular film that really developed a sense of growing dread and threat through an excellent performance from the lead female and a great score that perfectly cast the film. I loved the ambiguity of the ending. Highly recommended.
On the complete opposite end of the spectrum is Charade, an early 60s Cary Grant/Audrey Hepburn spy thriller/romance that has tons of twists and turns and laughs. I've seen it before but I just adore the film and the bizarre humor throughout it. I also love that, until the last minute, you don't know what exactly is going on in the movie. Great stuff.
Room 237, a documentary about the theories about the meaning and symbols in The Shining, was the equivalent of watching a movie made my Radiohead wackos trying to relate the color of Thom's pants to the quality of the band's setlists.
Meanwhile, Grabbers is a really fun and quite hilarious Irish horror/sci-fi film, in the vein of Attack the Block, about a small island community inundated by some weird, tentacled alien creatures. They discover that the blood-sucking aliens are averse to - get this - alcohol, so the grand plan is to quarantine the entire town into the bar for one night of intense boozing in order to ward off the creatures. It's a good entertainment, calling to mind early Spielberg (had he been Irish & fond of jokes about hard alcohol).
Today I watched three films:
Unfaithfully Yours is one I've seen and adored, and it was every bit as fantastic as I remembered. This time I was better able to understand how each movement of music the conductor used influenced his visions of his and his wife's demises. What I didn't appreciate as much the first time through is Sturges' absolutely stellar dialogue, which is his true hallmark as a filmmaker and what makes his movies. He was so quick with lines that their humor is lost on first viewing, but repeated sittings reveals so much comic relief that these films are true hallmarks of slapstick and insane comedy.
McCabe and Mrs. Miller is a fantastic take on the Western genre as well as a great study of a community and how its growth affects those who live there. Warren Beatty absolutely destroys as McCabe, an entrepreneur moving to a Pac Northwest mining town to establish a whorehouse and saloon despite his forthcomings as a businessman and general intellectual, and Julie Christie is perfection as Mrs. Miller, the high-class whore who truly establishes his business and convinces him to build beyond what he would have ever envisioned. She becomes his downfall, sure, but the film is great at showing a whole community in full relief and is so refreshing for not falling into the traditional heroism roles that plague westerns. I loved it.
42 is all about heroism. That said, I'm a huge Dodgers fan and watching Jackie Robinson's rookie career so adeptly portrayed was great. I thought the whole film was well made as far as sports dramas go, that they did not shy away from the brutality of the racism that Robinson fought through early in his career, and that, while it didn't show nuance to his character (he was known as a hot-head and an egotist) it was satisfying as a fan of his story. I enjoyed it.
Oh yeah, i watched that in a "history of the Documentary" class in college. it's amazing.
I loathe the announcement of it and groan as lights go out but about 3 minutes in i'm hooked all over again. its great to watch it with different scores attached to it (depends on the copy you watch or you could even find another and start it at the same time) as you get a whole different kind of energy.
Guy Maddin's Careful was much more of a hardcore art house film than I had anticipated, after having only seen My Winnipeg of his films before tonight. I did like it a good bit though, and now I'm chuckling at reading how some refer to him as "the Canadian David Lynch."
Although Careful reminded me much more of Greenaway than Lynch.
Fuck Harvey Weinstein http://twitchfilm.com/2013/08/weinst...owpiercer.html
He's wrong, because the movie isn't going to play well in those markets regardless of running time. There are enough people out there that won't even bother watching a movie with subtitles, so why not market the film toward the type of people that actually want to see it?
I'm impressed with her choices:
What I saw in July...
The Bling Ring - Sofia Coppola - 83
Super 8 - J.J. Abrums - 95
Much Ado About Nothing - Joss Whedon - 90
Wild Strawberries - Ingmar Bergman -100
Spring Breakers - Harmony Korine - 100
Pacific Rim - Guillermo Del Toro - 88
The Wolverine - James Mangold - 68
Cannibal! The Musical - Trey Parker - 98
Seen a couple good films lately. 'A Summer in Genoa' with the actor who played Marc Darsy in Bridgette Jones had you on edge the entire time. Was that established by, and carried through the entire film, the death of their Mother in the first scene? The camera angles and narrow Italian side streets I'm sure added to the paranoia of impending tragedy. I wanted to fast forward through a few parts because of how emotionally affecting they were. Phew, glad that's over.
Also, 'Byzantium' is a quality vampire film in an era of terrible ones.