that makes sense, i think i just don't have the patience for that sort of thing. especially all the over-idealized shots of the mother. some very pretty shots of space though!
But did they find love?
why the holy hell would i care if they found love? just because i think it's a motivating factor for walt on breaking bad, which is somewhat proven by the fact that he won't leave skylar? and i knew it was going to be a long, artsy movie, i just didn't get it.
*edit* plus compared to the other horrible sci-fi/action movies my date makes me watch, this was funny.
Ugh man the ambassador was fucking boring.
Courtney Barnett @ Rickshaw Stop 02/24/14
The Pizza Underground @ Neck of the Woods
St.Vincent @ Fox Theater 03/22/14
Kraftwerk @ Fox Theater 03/23/14
The Knife @ Fox Theater 04/15/14
Nick Cave and the Bad Seeds @ The Warfield 07/07/14
I realize that sounds like horse crap, but I would've probably fallen asleep or turned it off a few years ago. Watching it today I was transfixed and annoyed when my attention was taken away from it (saw it at home, not in the theater). But I'm not aching to watch it again.
And for the record, Alien3 still bored me to tears (but I didn't fall asleep this time). Some of it was just awful and ham-handed... Fincher was in way over his head and it showed. It didn't move the mythology forward an inch, and wasn't nearly as scary as Alien or as crisp as its sequel. What a letdown from Aliens, my favorite film through my high school years. At least Alien 4 was bad, so it's not alone in the cellar. And I loooove Fincher.
People's personal memories can certainly affect how people view films.
For example, I cite my own experience being the oldest of 3 brothers and having a rocky relationship with my father as having quite an impact in why Darjeeling Limited was one of my favorite Wes Anderson movies immediately, when it turned out to be a lot of people's least favorite movies of his.
I love that movie, am the oldest of three, and have up and downs with my dad (who doesn't). word
That was very courageous of you to come out and say that malc. I'm proud of you.
Uh, wow. I watched The Cabin in the Woods tonight. Not at all what I was expecting. I was expecting a typical horror flick, but that was so batshit, so incredibly creative. I loved it.
I saw a screening of The Inbetweeners last night, followed by a Q&A with series' co-creator Iain Morris and James Buckley, who plays Jay. It's dumb and vulgar and pretty funny, and if you're a fan of the original British series (which I am) it's definitely a natural extension. Like the series, the film has surprisingly genuine moments of humanity and warmth amid all the jokes about fanny and clunge. Plus I got a free "Pussay Patrol" t-shirt which I will likely never be able to wear in public. I believe there are also screenings with cast members tonight in New York, Boston and Los Angeles.
I've seen several films lately so I'll run through them quickly.
Nicholas Ray's We Can't Go Home Again played at USC last week, and for me it was one of those rare movies (like 2001, Satantango, Weekend, and a few others) that seriously impacted the way I view cinema as an artform. The shortest way I can explain the film's existence is: after Ray's Hollywood career had effectively been over for a decade, he resurfaced as a professor at a small state college in Upstate New York where he spent two years shooting home movie footage that poetically reinterprets his students' lives and his interaction with them, and then he assembled it into a feature in which the majority of the runtime features 3-5 shots playing at the same time. Oscilloscope is releasing this long-lost masterwork alongside a documentary by Ray's widow about its making, which happened to play first at my screening; as I watched the doc, I became increasingly uncertain as to how the feature would play. But like the best experimental films, its formal inventiveness is not only exhilarating but also vital to expressing its themes; it quickly becomes apparent that the assault of images and overlapping soundtracks is designed to evoke the mental state of people at the most confusing, vulnerable and mind-expanding stage of life - and also during one of the most turbulent junctures in American history. I can't overstate how much I loved this film, and how passionately I implore you to seek it out when OScope eventually releases it. My one tip - don't watch the doc first. I felt cheated on some very powerful moments that were explained at length there, although the impact is relative.
Sleepwalk With Me was an excellent little autobiographical comedy. I wasn't an enormous Mike Birbiglia fan coming in, but I left with a deeper appreciation of his comic stylings. He also has some basic narrative instincts that I wish a lot of other comic filmmakers would pay attention to.
Cosmopolis was mostly enjoyable as far as it went. Pattinson's work was the sort of thing that fit this film well, but also convinced me that he basically has negative talent as a screen actor. Much of the dialogue was delicious, although it felt like it was probably imported directly from the novel (which I have not read). I don't know why I've been so devoted to seeing new Cronenberg films (most of which I haven't been totally on board with) when I've seen so few of his older ones (basically nothing prior to Naked Lunch).
I think I already talked about Compliance in here. I was bummed I didn't make it to Cinefamily for The Ambassador, so I guess I have to slum it with VOD one of these days. I plan on seeing Red Hook Summer this coming week. And I will be seeing The Master in the Dome on Saturday night - obviously the film event of the year for me. I've done a fine job of staying away from reviews/Tweets on that one so far. To the Wonder, also, though it's only been out there for a week. I have impossibly high hopes for AFI this year.
I'm glad to hear you liked Sleepwalk With Me. I still haven't seen the movie, but I enjoyed the book and the preceding radio stories/stage show and I find Mike Birbiglia to be extremely endearing, both in terms of his lighter comic work and his somewhat darker storytelling - I guess SWM falls somewhere in between? - Either way, I think it's a fantastically interesting and tragic window into comedy. Or a fantastically interesting and comic window into tragedy. Take your pick.
There isn't really a thread for this sort of thing, but if you are a fan of Mark Haddon's book The Curious Incident of the Dog in the Night-Time, Britain's National Theatre is currently presenting the world premiere theatrical adaptation. And in September you can see the filmed version in cinemas across the world. They've been doing this for a few years. I was skeptical about these kinds of presentations until I saw my first one last year. These aren't just stage plays filmed from the back of the house, but really carefully and artfully shot cinematic broadcasts of live stage productions. Nothing can replace being there in the theatre, but this is as close as it gets. In LA they're screening Curious several times in September. They're also doing an encore run of the very popular Danny Boyle production of Frankenstein with Benedict Cumberbatch and Johnny Lee Miller alternating the lead roles.
I, for some reason, thought The Fly came out after Naked Lunch and thus may have been viewed by Gabe. I'm wrong it seems, but agreed. The Fly was the first Cronenberg I ever saw, and one of the first horror films I ever watched as a kid. My dad loved it and showed it to me when I was 8 or 9, and it freaked me out in such a great way. Definitely either that or Arachnophobia for my first horror film.
I also saw it when i was really young...probably on HBO after the initial theatrical run. The birthing nightmare in particular is still an image that terrifies me. I still need to see Rabid, The Brood, The Dead Zone, and M. Butterfly.