On February 12 2013 04:01 corumjhaelen wrote: Tokyo Story (Yasujirō Ozu) A retired couple visits their children living in Tokyo. Said children have trouble taking care of them. I must say that I don't really understand the status of this movie near the very top or at the top of many very serious classments (for instance 3rd in the Sight and Sound poll which I find pretty good in general). While both directing and acting are very good (the use of camera height is extremely smart and works perfectly, excellent cut and framing...), I found the subject not only a bit dull, but also very conservative, accusing the younger generation in a subtle but pretty clear way of being just a bunch of egoist. I fear I don't recognize myself in Ozu's vision of the conflict of generation. Perhaps it will change with age, but I kinda doubt it. 6/10
Lincoln (Steven Spielberg) The last months of Lincoln's life and his struggle to pass an amendment outlawing slavery. First of all, I must say that as a non american I knew little about the period, and I think the subject was extremely interesting and the movie did an excellent job explaining the politics of the time. The portrayal of Lincoln was really interesting, a great man with his flaws, but the best character for me was Tommy Lee Jones'. The photo was really beautiful except at one or two place where it was corny, but excellent work from the director of photography I must say. Now onto what's shaky. Spielberg chose in my opinion too solemn a tone and his direction his really academic, making all this a chore to go through at times. In the same vein, Williams' music was alas extremely pompous and annoying. Finally I have a huge problem with the way actors were directed. Being sober is not synonymous with being a genious, even though it is a good path to get and Oscar. Daniel Day-Lewis (whom I deeply respect) has this problem, but the worse is Sally Field, making all the domestic scenes nigh unbearable. Overall I'd advice to see it because it was really interesting, but more for the scenario than for the movie in itself. 6/10
Gilda (Charles Vidor) Johnny Farrell (Glenn Ford) meets in Buenos Aires Ballin Mundson (George Macready) the rich director of an illegal casino. Ballin hires Johnny, and everything goes very well for the two until Ballin suddenly marries Gilda (Rita Hayworth), whom Johnny obviously knows and hates. Wow, absolutely stunning movie, maybe the best film noir I've seen. The love triangle between the three main characters is a sight to behold, its complexity is incredible, such a strange mix of love and hate, including the relationship between the two males, wich doesn't seem that innocent. The three actors are impeccable, but Rita Hayworth simply is the best, she's so stunningly erotic and ambivalent... There's also a very funny and interesting secondary character, a philosophising washroom attendant. Now that's a good study of characters 9.5/10
tokyo story is pretty damn boring and has basically no plot or anything to move the "story" along. most of those old foreign classics dont really have that compelling of a situation, its mostly just interesting thoughts on life and good poetry, like bergman so its hard to care.
i recently watched "seven psychopaths" which was entertaining, but fell into some the same 4th wall traps as "rubber" - so many scenes are just bizarre which is great. but the movie isnt in bruges.
also watched "killer joe" so fucking intense. its easy to hate the film, but damn is it well made... that chicken leg scene is going to be talked about for a while.
tokyo story is pretty damn boring and has basically no plot or anything to move the "story" along. most of those old foreign classics dont really have that compelling of a situation, its mostly just interesting thoughts on life and good poetry, like bergman so its hard to care.
Rofl, what a ridiculous statement, I wonder why I still haven't answered your PM with how incredibly interesting your opinions are. I might do it once I have finally seen The Social Network (and maybe Rosemary's Baby), but honestly I'm not sure it's worth it... Edit : especially from someone who liked The Master, a movie without a plot if I ever saw one.
Well... unless you have a real weakness for a 'Romeo and Juliet'-like story, don't bother watching this. It is just terrible.
The thing that annoyed me the most was that there only seemed to be two colors available when the movie was shot - teal and orange. Please stop it with teal and orange!
On February 12 2013 04:55 corumjhaelen wrote: Rofl, what a ridiculous statement, I wonder why I still haven't answered your PM with how incredibly interesting your opinions are. I might do it once I have finally seen The Social Network (and maybe Rosemary's Baby), but honestly I'm not sure it's worth it... Edit : especially from someone who liked The Master, a movie without a plot if I ever saw one.
do you even understand what im saying? wild strawberries has no plot. either does persona. the seventh zeal is great, because you know its so simple, but unlike those two films it actually has plausible plot development. the two prior films are just a bunch of short stories strung together with random poetry. and they have mediocre acting at best. lets compare two similar films "wild strawberries" to "the badlands"
wild strawberries: an old secluded doctor leaves his town in a car to recieve an honary award. his daughter in law comes with him. along the way he meets people who give him flashbacks to his younger years. the end.
badlands: a garbage man meets a very young girl, and they fall in love. he quits his job and tries to take her away from her father. he ends up killing the father and the two run away. they live in the woods together until 3 rangers find them and the garbage man kills them. they go to his friends house where he kills his friend and locks two people in a bunker. they are forced to run away again, this time barging into a rich mans house where they take his car, they head out across the us hoping to find a new job. the garbage man realizes he needs to let the young girl live the rest of her youth without him, and he leaves her as the cops begin a car chase and he evades them. he gives up though and lets the cops catch him. the cops take him back to a military base, as this has been a huge manhunt. there he meets the young girl in handcuffs and they have one more moment together. he then is on an airplane being sent to the electric chair. the end.
and just to show the difference in quality while keeping the a dreamlike style here are two scenes!
secondly ... did you even see the master? or just basing that off some reviews? because it certainly has a story. PTA just skips through time and leaves things ambiguous at the end, in fact i thought the ending reminded me of a clockwork orange because you expect Freddie to have changed deep down only to find him going back sexual urges. it has the best acting ive ever seen in a movie, and its not even close.
You know nothing about acting, it's just hilarious. The acting in the Master is patheticly terrible while Bergman is an outstanding director of actor, which about everybody (including his naysayers who have way better arguments than you by the way) but you agrees on. Anyway you argued that there was nothing good apart from method acting, which proves you are close minded as hell and prisonner of fashion. I don't mean to be rude, but a method that produced such great actors as Christian Bale, who can't play anything and Nicholson who has been playing the same role for 40 years isn't exactly the most perfect thing ever in my book... I can sum up Badlands and The Master in two lines too, what does that prove exactly ? There is a pretty complicated plot in Tokyo Story even if we were noth not interested in it. There is more link between every souvenir in Wild Strwaberries than between every scene in The Master, which is just a suite of random scene very loosely linked, and I'm sure PTA would agree with me on that. Please try to understand the difference between not having a plot (which I guess kinda describes The Virgin Spring among the Bergman I've seen) and haing a plot that doesn't interest your very narrow vision of cinema. Also poetry is not a synonym for bullshit.
Edit : fuck, I can sum up the longest French in 3 words, so I guess there's no story in it either. Edit 2 : and there are "old non american classics" besides Bergman and Fellini...
On February 13 2013 06:55 corumjhaelen wrote: You know nothing about acting, it's just hilarious. The acting in the Master is patheticly terrible while Bergman is an outstanding director of actor, which about everybody (including his naysayers who have way better arguments than you by the way) but you agrees on. Anyway you argued that there was nothing good apart from method acting, which proves you are close minded as hell and prisonner of fashion. I don't mean to be rude, but a method that produced such great actors as Christian Bale, who can't play anything and Nicholson who has been playing the same role for 40 years isn't exactly the most perfect thing ever in my book... I can sum up Badlands and The Master in two lines too, what does that prove exactly ? There is a pretty complicated plot in Tokyo Story even if we were noth not interested in it. There is more link between every souvenir in Wild Strwaberries than between every scene in The Master, which is just a suite of random scene very loosely linked, and I'm sure PTA would agree with me on that. Please try to understand the difference between not having a plot (which I guess kinda describes The Virgin Spring among the Bergman I've seen) and haing a plot that doesn't interest your very narrow vision of cinema. Also poetry is not a synonym for bullshit.
Edit : fuck, I can sum up the longest French in 3 words, so I guess there's no story in it either. Edit 2 : and there are "old non american classics" besides Bergman and Fellini...
dear god, "the master acting is pathetic compared to any of bergmans" good luck selling that argument to ANYBODY. thats the best acting ever. your argument is obsolete. you dont even have an argument. 4:30 and up. + Show Spoiler +
The Thing (2011) 5/10 Pretty big letdown. It seemed like the director did not understand what made the original one so good, which was the claustrophobia and paranoia. I hated the fact that they showed the Thing in its real form so much and had one of those mainstream horror "chase" scenes. Even with the better production and computer graphics, that totally killed the suspense because the Thing was out in the open so often. Do not watch if you are a fan of the original. This is not a proper prequel. + Show Spoiler +
Also, I'm not entirely sure why they had to chase the thing when it went into its spaceship. I was facepalming during this entire sequence. If they were worried that the alien was going to reach human society, I would understand if the Thing was travelling back with other humans. But how the hell would that thing land that huge-ass ship and not get noticed?
On February 13 2013 06:55 corumjhaelen wrote: You know nothing about acting, it's just hilarious. The acting in the Master is patheticly terrible while Bergman is an outstanding director of actor, which about everybody (including his naysayers who have way better arguments than you by the way) but you agrees on. Anyway you argued that there was nothing good apart from method acting, which proves you are close minded as hell and prisonner of fashion. I don't mean to be rude, but a method that produced such great actors as Christian Bale, who can't play anything and Nicholson who has been playing the same role for 40 years isn't exactly the most perfect thing ever in my book... I can sum up Badlands and The Master in two lines too, what does that prove exactly ? There is a pretty complicated plot in Tokyo Story even if we were noth not interested in it. There is more link between every souvenir in Wild Strwaberries than between every scene in The Master, which is just a suite of random scene very loosely linked, and I'm sure PTA would agree with me on that. Please try to understand the difference between not having a plot (which I guess kinda describes The Virgin Spring among the Bergman I've seen) and haing a plot that doesn't interest your very narrow vision of cinema. Also poetry is not a synonym for bullshit.
Edit : fuck, I can sum up the longest French in 3 words, so I guess there's no story in it either. Edit 2 : and there are "old non american classics" besides Bergman and Fellini...
dear god, "the master acting is pathetic compared to any of bergmans" good luck selling that argument to ANYBODY. http://www.youtube.com/watch?v=taqZ74wHyhU thats the best acting ever. your argument is obsolete. you dont even have an argument. 4:30 and up. + Show Spoiler +
christian bale won an oscar just recently btw.
Yeah, I guess if I make a poll on the cinephiles website I go on and ask if the acting is better in Wild Strawberries or in The Master, I'd probably get a 90% in my favor (and i'm probably being kind). Good troll though. Edit : gosh this scene is ridiculous. Edit 2 : and Academy Award are a good indication of movie and acting quality lol
There should be a warning at the beginning of the thread. DONT FEED THE CORUMJHAELEN. Everytime i come to check this thread for some movie references there is some crazy shit arguement between you and somebody.
Eden and After. 8/10 probably. Strange and surreal arthouse film. Lots of cool ideas and images, even if a bit tedious at times. Apparently the director, Alain Robbe-Grillet, was an inspiration to David Lynch. Will probably check out some more by him like La Belle Captive and Gradiva.
I'd say that both The Master and Wild Strawberries have some great acting in them and some not great acting in them. Both Bergman and PTA are both great directors of actors. And both films are great (personally I prefer Wild Strawberries but I have yet to rewatch The Master since it came out). Why can't we have both?
They have different styles of performance, but they're both different types of film. It really comes down to what you're personal preference is and what you want from a performance.
I recently got the chance to see Tabu (2012) again on a big screen. I'm a huge fan of Miguel Gomes' work and I really do think it was the best film I saw last year. I don't want to spoil things but the film is split into two parts, past and present and is romantic, funny, and very melancholic. The execution is incredible though. The second half of the film is narrated with no diegetic voices and only select sound effects, music and ambience, existing halfway between silent and sound cinema. When combined with it's academy ratio, it's beautiful cinematography, it's themes of loss and memory, it's incredibly evocative and moving to me.
So if you get the chance give it a watch, I can guarantee that not everyone will love it as much as I do but that's ok with me. If you liked it, check out Reverse Shot's recent interview with the director, Miguel Gomes, it's pretty good I think.
group of people tramatized 26 years ago tries to assassinate(but first make him admit) the ex-president for his Gwangju Massacre
this movie has the worst stand off of any fucking movie i have ever seen.
it really had potential and i was really enjoying it but the ending just ruined it so badly to a point i'd say this is the worst movie i've seen this year so far. its like seeing your ice cream sunday being made it, looks delicious and at the end they put shit all over it. it defies all logic, story develops because people are stupid or too emotional, extremely suffocating climax/ending.
On February 07 2013 07:44 DoSu wrote: Jinroh, best anime movie ive seen. Such a good and complex story. Its a bit depressing so if you dont like depressing movies dont watch it.
Agreed, Jinroh is really good. I rarely see people talking about it!
The movie was great, it was very suspenseful for the whole 2.5 hours. Maya, played by Jessica Chastain, reminds be of Carrie on Homeland, and the acting is just as good. Maya is a very determined and compelling character, and she's based off a real life CIA agent.
Having seen the movie now, I can say that the controversy about the movie glorifying torture is completely overblown. The movie does not depict torture as being critical to the search for bin Laden, the information about the courier was found in many ways, including through interrogation and it turned out that it was later found on an old file that the CIA had forgotten until around 2009, at least according to the movie.
And even if torture was critical to killing bin Laden, there is still nothing wrong with the movie's depiction of torture. Imagine if it didn't show torture. That would have been whitewashing history.
Anyway, it was amazingly good, one of the best movies I've seen.
On February 13 2013 08:11 Godwrath wrote: There should be a warning at the beginning of the thread. DONT FEED THE CORUMJHAELEN. Everytime i come to check this thread for some movie references there is some crazy shit arguement between you and somebody.
Come on, heh, you really want spewed garbage like :
tokyo story is pretty damn boring and has basically no plot or anything to move the "story" along. most of those old foreign classics dont really have that compelling of a situation, its mostly just interesting thoughts on life and good poetry, like bergman so its hard to care.
to get a pass?
Blue Valentine
This film... I was captivated and consumed wholly. It's like too powerful it feels dangerous; the characters are 1000% believable. I don't even know what to say, one of the most fascinating, thoughtful, emotional explorations I've ever watched. It's devastating, but I wouldn't say depressing since I felt able to inhabit the highs just as much as the lows. I feel like it'll miss some people though who just aren't wired the way the film/filmmaker is. Definitely astounding performances by the leads in any case.
What a waste of time. Extremely formulaic; unoriginal characters and jokes; terrible pacing... Every time I see a movie like this I wonder: what's with these scenes in all these movies where the humour consists solely of people farting/shitting/burping/whatever? Does anyone actually find this funny? I greatly regret watching this.
On February 13 2013 09:31 powerfulcheeses wrote: Thought I'd chime in on the discussion,
I'd say that both The Master and Wild Strawberries have some great acting in them and some not great acting in them. Both Bergman and PTA are both great directors of actors. And both films are great (personally I prefer Wild Strawberries but I have yet to rewatch The Master since it came out). Why can't we have both?
They have different styles of performance, but they're both different types of film. It really comes down to what you're personal preference is and what you want from a performance.
Agreed. It's pointless to compare the two because they're both trying to accomplish different things with different methods. What we have in this discussion is just two film snobs clashing with one another.
EPT
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