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|Saturday, June 11th, 2016|
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|Thursday, October 4th, 2012|
|Thursday, August 23rd, 2012|
|Friday, July 27th, 2012|
|Friday, June 2nd, 2006|
1. Emir Kusturica, Time of the Gypsies. I have seen this film six or seven times, it is my favourite film by this director. The characters are very moving, especially the old Grandmother. The film has great music too. It is very kind, despite its sad ending.
2. Carlos Saura, Cria Cuervos. I saw it first not a long time ago and was enchanted by it from the first seconds, when the family pictures are shown accompanied by a sad music of Federico Mompou. The girl with sad and serious eyes, the mute Grandmother, the ill and melancholic mom, all of them are so believable in their suffering.
3. Ingmar Bergman, The Autumn Sonata. I loved Ingrid Bergman in this film. At the end she was so broken that one would rather sympathize with her, despite all of her mistaken deeds.
4. Pedro Almodovar, Hable con Ella. First of all, the music! The disc of the soundtracks is one of my favourites. The story is beautiful, it is told with humour and compassion. The acting of all the characters is great. I do not agree with those who call this story a justification of rape; it is not. The film makes it perfectly clear that Benigno is sick (though very miserable), and even his only friend Marco does not say that he did a nice thing, on the contrary. As Alicia's teacher says at the end, 'Nothing is simple', and these words have to refer to the whole story with Alicia.
5. Roman Polanski, Chinatown. I am not Polanski's fan, but this film is an exception. Jack Nickolson is admirable, and Faye Dunaway is unbelievably beautiful. The story has so many nuances that are subtly interconnected, so you can watch this film many times, and each time you will find something new.
Films/Directors I failed to like
LARS VON TRIER!
I honestly tried to like him because of my best friend (who really admired him at the beginning of our friendship, now she is more into Tarantino's films), but it is something beyond my perception. He is so misantropic that he doesn't even care about his characters. He tells the viewer a tragic story just to shock him, and you feel that he has no sympathy to his heroes regardless of how sad or terrible their fate is. He is also very pretentious. In addition, if an artist speaks so much about how realistic he is in his work, it immediately evokes doubts in his sincerity.
'Breaking the waves' was especially annoying because of the main character getting on my nerves.
Peter Grenaway - for more or less the same reasons. He does not try to devastate the viewer emotionally, because he is more into intellectual excercises, but he is also misantropic and pretentious. Or maybe I am too stupid for his films.
|Thursday, March 9th, 2006|
Hey guys, this is a new film review site
that my friends and I recently started. We discuss old films, new films, directors, and whatever else pertaining to film we feel like talking about. We think we provide a fresh perspective on cinema beyond banal comments like "the story was good" and that's why we felt like our site would be a worthy addition to all the film sites that already exist. We hope you'll give us a chance and agree. Sorry in advance for the x-posting.
|Tuesday, August 30th, 2005|
2. American Beauty
3. The Lost Skeleton of Cadavra
4. Requiem For A Dream
5. Teenagers From Outer Space
Either: Ed Wood, or Tarentino.
|Tuesday, August 2nd, 2005|
MY TOP 5 FILMS ARE:
3. TRAIN SPOTTING
4. THE MISFITS
MY FAVOURITE DIRECTOR IS MIKE LEIGH.
|Monday, May 30th, 2005|
For film people:
If you are studying to be a director, actor/actress, director of photography, film editor, screenplay writer, etc.
I'm setting up a website in a week or so.
Ideally, it will be a community for students/hobbyists nation-wide. Aspiring directors, DP's, set designers, screenwriters, and actors will be able to collaborate with each other to create films that suit their own artistic vision and cinematic goals. This will be a non-profit site to encourage collaboration and the production of films. There are too many students who are wasting their time when they could be off shooting or acting in movie.
I'll have forums and ads where you can post your role (actor, director, DP, songwriter). You can exchange phone numbers with other students in the same area. In my opinion, this is the best way to assemble a closely knit, efficient, and serious movie crew. If you are serious about working in the film, please email me at firstname.lastname@example.org. I will reply shortly with a link to the site.
If you are interested, please visit my journal for more information.http://www.livejournal.com/users/bun_gle
|Sunday, May 15th, 2005|
Now I understand that this is a very film bratty community, but I noticed that when I posted a link for a Steven Spielberg community in here a while back, I got nothing but "Fuck Steven Spielberg"s from the members here.
Are we all so big-headed and elitist that we can't except film as not only the deep and poignant that you all embrace (as I do), but also cling onto the storytelling aspect?
What went wrong when the only "respectable" films in your eyes are Kafka art and nothing else?
Fellini, Bergman, Traffaut and the like will always be considered masters, but why does Spielberg (and even Scorsese now) get only scowls and "fuck you"s from film nuts?
I've loved film all my life... I've devoted my life to studying it and creating it. I've analyzed every aspect of it.
So I can tell you assuredly that you are all missing the point. Films don't have to be smart. Films don't have to be incredibly thought-provoking. They merely have to serve their purpose as a film. Only when they fail at this do they become known as "awful". No one really ENJOYED "Torque', so it didn't serve it's purpose. But at the same time, "thought-provoking" films that lead you to believe they will indeed be PROVOKING THOUGHT that do not do that are no better than "Torque".
Basically what I'm saying can be summed up like this... I saw "2 Fast 2 Furious" and I was immensely entertained for the 90 minutes it was playing. Mission accomplished. It's not something I'll remember for the rest of my life, but it didn't lead me to believe it would be. While "Young Adam", a film based solely on the idea that it will make me leave the theatre with strong opinions left me empty-handed. I thought it was derivitave and exploitative. Therefore, "2 Fast 2 Furious" is a better movie than "Young Adam".
And I think that's where film geeks have gone wrong. We've gotten so caught up in the magic of Fellini, Bergman and Kubrick that we've failed to realize that there's also Spielberg, Zemeckis and Darabont. Six directors on opposite sides of the spectrum who are all masters of their craft.
|Wednesday, May 4th, 2005|
This place is pretty dead. Everyone who likes a challenge should come join theflickyoucrew
. Hell, I couldn't even get in and I'm still telling people about it. So if you think you know your stuff, you should head on over and check it out. If nothing else, it'll kill some time if you're bored.
|Saturday, March 19th, 2005|
1. The Lion King. Quite simply a perfect movie from every angle. The aesthetics, the characters, the music, the animation, the universality, the timelessness, the plot, the technology. I can't think of one element in the movie that was not flawless.. and everything fit together like some wild fugue of brilliance. What happened Disney? It was all downhill afterwards. This movie not only set the bar for animation, but for any movie that is meant to be enjoyed by anybody and everybody.
2. Cria Cuervos. Carlos Saura is a living god, in my humble opinion. This was another flawless movie. Saura has a unique gift of capturing souls and immortalizing them onto film. The characters, the symbolism, the historical context, the mix of silence and piercing noise, the aesthetics were dead perfect. Empty pools. Chicken feet. The intermixing of time. Anyway, who can resist the scene with Jeanette's "Por Que Te Vas?"
3. Grave of the Fireflies. This is perhaps the most important movie I have ever seen. More than any other film has accomplished, the reality of war is expressed.
4. Un Chien Andalou. I don't think much was ever meant to be said about this film. Writing about film is like dancing about architecture, right? From the moment I first watched this film, I felt it was perfect.
5. The Holy Mountain. Somebody else here already said many things that I will agree with. Much like Un Chien Andalou, this movie was both indescribable and successful artistically.
Anything by Almodovar. The Grandmother. Dancer in the Dark. Saura's Flamenco. Anything Kurosara. El Padrecito. Take Care Of Your Scarf Tantja. Amelie and Delicatessen.
1. Spun. Although I loved pretty much everything else this director did, and I loved the cast, even most of the scenes from the film. the music and virtually every scene.. I know this could have been an amazing film, but it wasn't. It was not even mediocre. It had so much potential, but it was wasted.
2. I dunno.. just pick from 99% of the stuff at the theaters these days.
|Wednesday, March 16th, 2005|
My Five (for now)
I am always looking for something worth watching that I haven’t seen yet, and that’s why I’m interested in what people are writing here. There are some really good lists here. I like to watch a wide variety of movies: I have favorite movies from all eras of filmmaking (although I must confess that I’m not overly crazy about silent movies); I am not fussy about reading subtitles; and I don’t get hung up on subject matter, from the squeaky clean to the profane.
I really can’t name five favorite movies (there are too many good ones to narrow down to 500, much less five), but I’ll take a swing at five I’ve found to be the most affecting in recent viewing. Here are five films that struck me for their beauty and emotional range. Film makes me very enthusiastic, so slap me upside the head if I start babbling.( Read more...Collapse )Least Favorite:
Sometimes I think I’m one of the only males in my demographic (white, suburban, midwestern, early 40s) who cannot quote from Stripes and Caddyshack. I’ve got no axe to grind about these movies and their ilk, but I didn’t laugh. If a movie is made purely as a medium for delivering yuks, and it doesn’t, there’s really nothing left to take pleasure from. I won’t say that these movies are stupid (that’s really the point, isn’t it?) or that they suck (based on the gross receipts, they delivered to their audiences), but they didn’t float my boat. Hollywood cannot spit out movies like A Fish Called Wanda on the assembly line—that’s why a really good comedy is such a treat.
Beyond that, I generally dislike two kinds of movies, those that pander to an audience’s expectations and those that tell you how to feel. I don’t need to enumerate examples of the former category—just take 70-80% of the films at your local multiplex. For the latter, I point to Spielberg as one example. As close as he gets to making a great film on occasion, he has the tendency to manipulate emotions, to feed the proper feelings to the watcher like a mother bird predigests food and spews it into her pleading babies’ mouths (examples: the final scene in Israel in Shindler’s List and the cemetery scene in Saving Private Ryan). Leaving Spielberg aside, I find most feel-good movies offensive. Maybe I’m just a grump, but I think that stories where someone triumphantly overcomes adversity against all odd through tenacity and will-power promote a rather deluded view of life on this mortal coil.
|Monday, February 14th, 2005|
i'd like to add A SAY WITHOUT A MEXICAN to my list of worst films. UN WATCH ABLE.
|Saturday, February 5th, 2005|
just a quick question:
what did you all think of The Wall?
Also, what other movies similar to Blow-Up are out there?
|Wednesday, February 2nd, 2005|
-DEEP HEALING BREATHS-
Good Day. My name is Maxscene. Chasing up the colon (i like the sound of that) are lists of my favorite and least favorite films(cinematic endeavors, travesties???). Bear in mind none of this is premeditated so if my descriptions and reasoning seems a bit subpar, I apologize whole-heartedly:
1.) Jean Luc Godard's Band Of Outsiders- There's something so poignant and whistful about the narrative...something glum and peaceful. The strings of Rimbaud poetry, the strange dynamic between Odile, Franz and Arthur, the ominous skies, the heavy-hearted joys, the absurdity of love, the futility of romance...it's perfect.
2.) Ingmar Bergman's The Seventh Seal- This is by far my favorite film. After the end credits I curled up and cried for countless hours. I felt between the relations, I knew that fear, that loneliness, that horror. I hate having to delve into the WHYs because somehow it cheapens it. The music, the lighting, Max Von Sydow's eyes, Josef's childishness, and Death Unknowing...I love Ingmar Bergman's work...his ability to articulate fragility and remorse. His characters bear themselves, relive their sins, call out to the irrational for reason...so painfully aware of an end.
3.)David Lynch's Blue Velvet- As with most productions Lynch, what's startling is the contrast between chaste surface and seedy underbelly. It's like a dream, with everything and everyone slightly off-kilter. You have savage brutality and perversion(see Frank)mixed with torturously beautiful and simple melodies. The abstraction of sex and pain, voyeurism and exhibitionism melding, the sickness of fantasy come alive. And on top of all that, there's a twisted grinning humor, a sardonic taint, an ironic flare. Each scene is a vision, a snap shot, a painting that could stand on its own and evoke desperate imaginings. The bright daylights drain themselves into sordid nights. And the happy ending is questionable.
4.)Woody Allen's Hannah and Her Sisters- This may not be one of my favorite movies but it keeps coming to mind. If only for the line "If Jesus came back and saw what was going on in His name, he'd never stop throwing up." How I laughed. The weavings of infidelity and guilt, Micheal Cane's uncanny portrayal of a spineless cad (notice all of my sentences are incomplete)and certainly the dialogue make this picture memorable. Zelig was wonderful in it's own way...I like Woody Allen, I don't care what anyone says.
5.)MMMMMMM, URRRRRMMMMMMM, well it's pretty typical but I'd have to say Martin Scorsese's Taxi Driver- Why you ask? For one I saw it at a very young age and was enthralled. Robert DeNiro is so believable, so easy to relate to...a moral murderer? It definately betrays convention. The ending is so bittersweet. I can't bear all the parodies and comic references...
The actor/director dynamic has always worked for me. The King of Comedy, Raging Bull, Goodfellas, Mean Streets...they've all worked for me.
As for movies I failed to enjoy....FUCK...uhhh:
Most modern day blockbusters have me cursing the screen, shaking my fist and mouring over the millions spent to cultivate such garbage. Action Films, Disaster Films, "Comedies," If you can call them that. To name a few:
Resident Evil, Meet the Parents, Triple X, Analyze This...there's nothing to them. For the dramas, no depth of character, a storyline that's been shoved down our throats time and time again, a forced romance, a scantily clad dame...usually we see protagonist going about his everyday life, then he meets big bad situation which he is forced to deal with, he loses everything and gains a lover, comes out stronger and we end with him tending his garden or rubbing his wife's swollen belly. The comedies are all sophmoric and utterly unwatchable. I'm not even slightly amused....EVER. Robert De Niro in such drivvle makes me want to cry. It's like Christopher Walken in Kangaroo Jack. A very sad affair. Horror films are much the same...not enough gore if you ask me. If I'm going for cheap entertainment I want gallons of blood, continuous dismemberment and sex that ends in death. That is if I can't have a psycological thriller.
So enough of me for the now. I hope you approve. Current Mood: bored
|Saturday, December 25th, 2004|
Lists by the bagful
I came across this board when searching for other users who liked Tarkovsky. I read some of the posts and liked what and who I saw. You all seem like a nice bunch, so I'd like to participate, if you don't mind. :) Also, I'd like to direct/write screenplays someday (soon?), so hearing what other movies are out there that I should see would be a good thing, I think. Anyway, onward!
1. Ivan's Childhood (Andrei Tarkovsky) - Probably not his best, but I can't say for sure (I've only seen three of his films). I can
say that it is without a doubt my favorite of the three I've seen. It's stark. It's sympathetic without being overly sentimental. It's rather brave, considering the fact that it doesn't really comply wholly to Soviet Realism. I really need to watch this again tonight (I got it on DVD for Christmas!). I'll edit this paragraph later, okay?
2. Mulholland Drive (David Lynch) - Oh, what to say about Mulholland Drive? It seems as though you either love it and get it, love it and don't get it, or hate it and don't get it. I have to admit that I didn't understand it either the first time I saw it, but I knew I liked it. It's full of Lynch-type humor and weirdness, it has profound beauty and profound sorrow, and it's just interesting to watch. It's as though Lynch takes from both pots: the art pot and the entertainment pot, and blends them together like a master chef.
3. Dreams (Akira Kurosawa) - This film is right up my alley because Kurosawa does with this film exactly what I would like to do if(/when?) I made films: he tells his dreams and does so with amazing beauty. There isn't really a whole lot to say about this film, as each dream is so different from the other, and yet, what can
you say about another man's dreams? This film is an inspiration, plain and simple.
4. Metropolis (Fritz Lang) - I know it's only all too cool to like this film, as it is the most accessible of all German expressionistic films, but I do genuinely enjoy it. The first time I saw it, I didn't appreciate it (because it had that annoying new wave soundtrack... not that I hate new wave, it just did NOT fit). Recently, I was able to catch it on TCM and it really blew me away. The sets were so detailed and beautiful. The scale and scope are both unbelievable. I kept asking my brother (who was watching it with me), "How did they DO that? This was back in the earliest days of film! How did they DO that?" The story is fantastic and so utterly German that it's delightful. What else can I say about this film that hasn't already been said? Oh yeah. About a year or so ago, I had a dream that had a cathedral in it. I vividly remember what it looked like inside and I knew I had seen it somewhere before. I kept seeing traces of it here and there (in the video game Koudelka, in an old castle on a TV show, etc.), but none of them fit the dream. It was only when I saw Metropolis again that I put the two together. It was the church set that was in my dream! Well, not all of it, but that one collumn with the decorations around it and the people in robes (who were also in my dream) wandering around it. It just goes to show you what an impression this film makes on you.
5. Falling Down (Joel Schumacher) - This is my guilty pleasure on this list. I wouldn't even consider it one of my top five, but I feel this is one of the most overlooked decent films of the 1990's, so I should probably explain this a little bit more than the others. Also, I know that Joel Schumacher is the man that ruined the Batman movies. Somehow, he actually did a good job with this one though. The acting is decent, the script is okay and often quite funny, but what's really important with this film (I believe) is the hero/antihero dynamic. The first character we are introduced with is often the person we assume to be the hero of the film (Michael Douglas), and with this film, we are set up to believe the same: he is the hero, his actions are just/justified, and his mission is something we can all get behind. Then we are introduced to this other character: a stereotypical, by the book, liked by most, retiring cop (Robert Duvall). At first, his role in the film is unclear, but as he starts to track the exploits of Michael Douglas, we begin to wonder, "Who is the real hero here?" You support Michael Douglas as he brings a kind of blue collar justice to those who offend the decent human being, even though he's breaking the law in doing so. You also support Robert Duvall because, as you learn, Michael Douglas isn't really all that stable and probably would be a danger to his ex-wife and daughter (who he's "going home" to). As the film comes to a head, hero and antihero meet and Michael Douglas recites a line that expresses his own character's ignorance to the fact that he wasn't the hero after all ("I'm the bad guy?"). Hero defeats antihero (through kind of a bluff standoff which can be interpreted as a self-sacrifice) and peace is once again restored. I'd suggest picking it up just to see it once. It's one of those really cheap DVDs with the paper cases.
Bottom two! (Booo!) This is going to be really hard since I tend to avoid seeing bad films outright... but here goes nothing.
1. All the Scream and Scary Movie movies - It's pretty pathetic when the parodies are worse than the originals, isn't it? The Scream movies were juvenile, bland, and not at all scary. You actually started rooting for the killers because you hated the entire cast THAT much. The "surprise" endings never were surprises. Just one let down after another is how this series could best be described. The Scary Movie(s) were MORE juvenile, more tasteless, and more boring than the original movies and not even funny. I didn't even think it was possible! I mean, aren't parodies supposed to be funny? The first scary movie was all drug and sex jokes. I skipped the second. The third was mostly anal jokes and obvious, over-used jabs at B-list celebrities (though it did have rare moments of humor).
2. The Blair Witch Project - Since when were shaky camera shots, constant swearing and screaming, and scenes of dull, empty wooded areas scary? I was bored and nauseated watching this. I wanted to just get up and leave, but I kept hoping it would be better. It never got better. The ending was a non-ending at best. There's not a whole lot to say about this film since there isn't a whole lot to it. It was hyped as revolutionary and once it was over, I didn't care. I have never been made to feel physically ill from any movie ever (and I've seen Pink Flamingos!), but this somehow managed to do it. That alone puts it on the "Boo-ed two" list.
^ My two cents.