Partially due to the fact that it was shot in 65mm - fuck, it could end up being the last such film ever the way things are going.
Apparently The Weinstein Company had a presentation in Cannes today to demo sizzle reels from its big three fall films - The Master, David O. Russell's The Silver Linings Playbook, and Tarantino's Django Unchained - and judging from the breathless write-ups, they all sound absolutely spectacular. Almost makes me want to take a four month nap so I don't have to wait.
I saw the last two films of the Aero's Bresson retrospective last night - Lancelot Du Lac and The Trial of Joan of Arc. They were both fucking fantastic, united in their focus on key historical figures but wildly different in every other way. Lancelot was probably the more fascinating of the two, namely because - in a stroke I haven't identified in any other Bresson hero - the eponymous knight was aware from the start that salvation would be beyond his grasp. Joan of Arc was almost entirely talking heads, and yet it was still spellbinding. Having seen 8 of Bresson's films, he's now become one of my most favorite film artists. It won't be easy, but I'm going to need to track down these other five films, like, now.
Thanks for sharing that, Gabe. There was a Bresson retrospective up here a few weeks ago, and of course I dropped the fucking ball and missed the entire thing. The films I almost got my lazy ass to go see were Les Dames Du Bois De Boulogne and Lancelot Du Lac. Probably something I'll be bitter about the rest of my life.
One of the film professors at the community college I went to has a screening of it once a semester, for free in the big auditorium/theater. Most of the other profs offer extra credit for a write up/proof of attendance (you know, that kind of thing). So there are always a lot of people that would never see it but are seeking out a few points in their intro to film class that ended up being a real amount of work. On both occasions I went, cus hey you dont pass up any opportunity for that on a big screen, there were multiple people crying in the audience. Being total open (or even coaxed) to something but still extremely uninformed is always an extremely unique mindset to go into things with.
Can't wait to see Samsara in the theater this summer.
I don't even think this trailer will be a 50-50 proposition. I'm fairly sure 80% of people will hate it - and will probably also hate the film itself. And they will all be wrong. This is going to be mind-blowing; Baz has absolutely nailed the decadence of Fitzgerald's Roaring Twenties, and if he can take enough of a subversive angle to it (which, granted, is no sure thing), this has a chance to be an all-time great reinvention of a classic book. Between this and Django Unchained, I'm genuinely not sure which film I will see first on Christmas.
Looks great! i am a complete 100% unabashed Baz Luhrmann fan though.
I'm also not much of a Baz Luhrmann fan, but I'll withhold judgment on this one until I see it. Given the current economic climate, I could certainly see this one resonating in some interesting ways.
But nevermind that shit... I just watched Assault On Precinct 13 (the original) and think I may have just seen John Carpenter's best film. I know what you're thinking, and as an unabashed lover of The Thing I'm right there with you, but I think the two are actually very close.
I would be hard-pressed to call that Carpenter's best, but Assault On Precinct 13 is pretty perfect horror film. He was pretty young and the genre, as it was at that time, was pretty young, and he just hit everything just right. The tension is nuts and you really do end up loving the characters.
I have a hard time stacking that up against The Thing, Escape From New York, Christine, Halloween, Big Trouble In Little China, or They Live, but as a pure genre film it's pretty pitch perfect.
Yeah, um, that trailer looks lovely; is there any doubt that Luhrmann and his team know how to make pretty things? But a healthy dose of skepticism about the man behind Romeo+Juliet, Moulin Rouge and the dreadful Australia seems pretty reasonable.
I meant to post this a couple of weeks back now. I caught Terence Davies' newest film The Deep Blue Sea -- I think it's out of theatres now. Beautiful, nuanced, deeply sensitive, lovingly shot, unforced. Everything you would expect from a Terence Davies film. I wish he were a bit more prolific; no one quite makes films the way he does. Rachel Weisz is mesmerizing in this one, too.
Great Gatsby looks a little too colorful. My own imagination has it rendered in such a way in my head that I'd probably be upset with any adaptation but its just a little much.
Wrong. Precinct 13 is terrible.
I love all of Carpenter's early scores