Look, i think we can all agree that tallguy's summation of that movie is the most pretentious thing ever written. Let's not dwell on it. (psst. Let's dwell on it.)
I finally saw "Girl With the Dragon Tattoo" for the first time tonight. It was on Encore, so I decided to watch it (I live under a rock, so I'm always the last person to see a movie... if I see it at all). I thought it lived up to the hype. I liked it a lot. But I've never read the book. How similar are they? Does the movie do the book justice?
I didnt even know there were different versions. I saw the one with Daniel Craig in it.
As was to be expected, I thought Spring Breakers was fantastic. I don't know that I would call it a work of existentialism, though it certainly has some fascinating phenomenological currents both in the filmmaking (which emphasizes the purity of experience and the unreliability of truth beyond it) and in the way that Korine wishes the audience to approach it (i.e., without presupposing his motives). I also wouldn't classify it as meditative; there's simply too much Skrillex blasting to get much thinking in. It DEFINITELY qualifies as a fever dream - a hazy, candy-colored, intentionally disorienting carousel of sad fantasies and sadder waking states. As someone who has always found the element of empathy to be deeply undervalued in Harmony Korine's work, this was almost exactly in line with what I anticipated - which is part of why I loved it. I'm sure Harmony doesn't worship the scene this film takes place in, but I don't exactly agree with some of the prevailing thought that he's out to shred it, either; he clearly gets who it appeals to and why, and as absurd as it may look, I don't think we're meant to judge them for it. The ending rings a Taxi Driver bell for me - high praise that is well-earned. I wish Harmony would have lost the montage that opens the film; these images recur several times throughout, and had the second instance been the first, it would have had much greater impact. Franco was excellent, and the girls were equally so.
Because no discussion here of any Harmony Korine film can be complete without acknowledging Randy's take...make no mistake, he would hate the shit out of it. He may find it more appealing than Trash Humpers, but there are too many atmospheric detours in this for him not to pull out the same arguments about Harmony's inability to tell a Story. The film certainly has enough "tentpole" moments to satisfy this rigid criteria, but it functions as perhaps the biggest neon-lit signpost of its uselessness.
24 of Kurosawa's films are free this weekend on Hulu to celebrate his birthday today. Happy Birthday to the legend, Akira Kurosawa!
I wish Stallone would make Cobra 2. It's one of my favorite Stallone movies.
loved the film though. as always, korine nails musical segments. also, the soundtrack was perfect. franco was incredible. on first viewing, might be second only to julien donkey boy in my book.
also, thrilled to see it made back its money on the first wide release day.
I'm anxious to see it again and focus more on the racial material. I was caught off guard by it (which, in retrospect, doesn't make any sense given the knowledge of who Franco was playing), so I'm still a bit unclear on the perspective it was taking.
Went to see Olympus Has Fallen this afternoon. It was edge of your seat, very violent but tons of good action. The first 1/2 hour to 45 minutes was really great. It was predictable in the end, but there are several A list actors and a couple of really solid performances.
"Edge of your seat"? As in, you were on the verge of walking out the entire time?
Suffice it to say my opinion is far from the popular opinion with film people, who lick the balls of the original version. Take it or leave it!
Real "film people" hate everything involving girls with dragon tattoos.
I just watched Brave. Fuckin' Pixar, they always do such an awesome job.
I think ParaNorman should have gotten the Oscar over Brave though.
I think I might have been wrong about Korine all along, or he's changed fundamentally with age. Not to play into the sexy swagger debate, but I did find his outlook to be refreshingly existential. I thought he was clear of the narrative pull. I though Spring Breakers would be largely a popcul prank. I'm not so sure anymore.
The aspects I desperately needed to be dismissive jokes were played straight. The rolling tears on the bus departure seem to have been sincere storytelling. It came off as amateurish and cliched on a level I didn't want to encounter. The philosophy inherent in Gummo isn't present in Spring Breakers outside of select scenes like the Britney Spears montage. There's far too much Earnest Drama on display for my taste.
I applaud him for the ability to transition into a wide release on the back of the Mickey Mouse Club, but I'm just not confident anymore that Korine was crafting the cosmic joke I hoped for out of this film.
... okay, I seriously gotta hear this because whether or not I agree with your opinions I can generally at least understand the logic you use to arrive at your conclusions.
What exactly is the "philosophy" that was present in his other movies?
Oh okay, I thought you meant that there was like actually a point to what he was filming.
I elevate uniqueness above quality. I'd rather a film/album/book/etsy be completely unexpected than it be of "value." I thought Korine was out to make something that's never been made before, for the sake of that enterprise. I don't know whether that's still his goal. It seems to have been before Mister Lonely. It's disheartening to me.
Alright, fair enough. I don't agree with the value you place on it but I can dig the premise.
So basically Spring Breakers was Korine's usual incredibly annoying content wall-to-wall except this time he turned his terrible sensibilities towards trying to actually inject a genre/plot as well?
And just to seal this up, the point is there. It's been there. A collection of moving images shouldn't have to boil down to something you can put on paper. The slavishness to the process of transitioning from script to screen is a cancer that crowds out the real ability of cinema.
Okay but was that really something he invented? I mean c'mon. I'm not a film history buff by any means, but for fuck's sake I'm pretty sure that people were making movies that were eschewing the need for a script/plot and just trying to using images in motion to convey emotions long before Korine. It just seems to me like he took that and made it something... I dunno, gross and uncomfortable.