The Descent is one of the best horror movies of the last 10 years. Expecially the first half of the film. Also liked Martyrs quite a bit.
Drag Me To Hell was pretty great in 2009.
I saw God Only Forgives last night. I don't know why it's getting so much hate as I really enjoyed it.
I should have phrased that differently - "as far as that kind of film with Kidman in it goes." I thought she was fine in the film, and it had its moments (the hair brushing fading into the field), I just didn't like it overall.
The films' comparisons end at Kidman being in a horror or quasi-horror film.
I watched the Evil Dead "remake" on Friday. I definitely haven't seen a mainstream horror movie with that much total brutal gore in a while. This thing is much worse in the category of torture porn than the Saw or Hostel movies, and it's strange to me that i haven't really heard anyone complaining about it. I guess if people aren't strapped into a chair and the violence isn't being committed by a weird fetishist than it's okay? I actually had to close my eyes and wince a few times, the close ups of limbs being sawed through linger a lot longer than necessary, this shit is just pure gross-out gore.
It's also a bit of a stretch to even call this a remake - it's very loosely takes the idea of the evil being released from the text of the book and then taking over people's bodies from the original and that's about it. The characters and situation are totally different, and totally wooden and boring. It's really only entertaining if you are into an insane amount of violence and gore - which I am sometimes, but there really needs to be a humor behind that kind of movie to work (which is why Eli Roth's Hostel movies are so entertaining - they're really funny and really weird), and this one plays it pretty fucking straight, so in the end it's kind of punishing to watch.
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?
Coachellas attended: 2007-present
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 06:28 PM.
7/29 - Anderson Paak - House of Blues - LV
8/5 - 8/7 - OSL - Golden Gate Park - SF
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."
Coachellas attended: 2007-present
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.