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Post by guttersnipe on Mar 15, 2021 15:24:25 GMT -8
This week's lesson is that films featuring heavy Cockney accents need to be viewed with subtitles on. We actually do this sometimes on TV for people speaking English in heavy accents (especially Nigerians) and it sometimes strikes me as pretty condescending (Cockney is actually supposed to be difficult to outsiders to understand, as the rhyming slang was designed to throw off the police). I watched a thing about Joe Strummer recently in which they subtitled the speaking voice of Shane MacGowan, and hilariously they had to indicate when he was laughing, because it wasn't at all evident in the face and genuinely sounded like someone tearing sandpaper in half. I watched a different type of deconstructed documentary this week: F for Fake, by Orson Welles. I don't think I've ever actually sat down to settle on one, but I think that's probably my favourite documentary ever. Speaking of which (in roundabout terms), TSDPT have recently done a bunch of updates for 2021, including a first-ever public poll for a new best-ever list, asking anyone and his dog for their Top 25.
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Post by Jeremy on Mar 15, 2021 20:18:55 GMT -8
Oh, I'm not nearly prepped enough to do a full Top 25 as of yet. Still got a few hundred films left to watch this year, for starters.
Paths of Glory is probably the strongest and most resonant Kubrick film I've seen so far, even if it does have the same issues as some of his later work (notably the sold and sterile tone). It's a harsh and unflinching WWI film, with a message that is explicitly anti-war but not contrived in its delivery. What really sells the film is the last twenty minutes, which are emotionally raw and human in a way that I don't often find in either Kubrick's films or the war genre. (Some of you may have discerned in the past that I'm not the biggest fan of war movies; I like Dunkirk and 1917 for their technical novelty, but films that focus on the drama of the battlefield aren't usually my speed.)
All in all, a very good film, and now I can definitely see the family resemblance between Kirk and Michael.
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Post by guttersnipe on Mar 16, 2021 6:47:27 GMT -8
I reckon that if you've seen only fifty films, you've got a Top 25. I think it'd be fun for everyone here to chip in, and I'll see if I can get Facebook friends to do the same. I don't think 'homework' is really necessary for an interest in any art*, especially when the idea here is to fashion a list that will hopefully be less hidebound to critical consensus than the usual TSPDT one.
* Unless you're aiming for encyclopedic knowledge
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Post by Jeremy on Mar 18, 2021 20:13:54 GMT -8
I may give it a shot. Just need some time to reassess my favorites and arbitrarily change half of them. Watched the two Italy episodes last night. To fully appreciate the premiere, Jeremy, I think you're going to need to watch all of those Criterion Collection films on Dev's nightstand. Well, at least Bicycle Thieves, from which it draws its most clear inspiration. Several years after J.C. recommended Bicycle Thieves, I have finally watched it. Took me a while to figure out why the film is so celebrated, but once I realized it was the simplicity (or more directly, its down-to-earth realism) that has made it so influential, I could better appreciate the detail and craftsmanship. Great use of subtle storytelling, with a fine score and excellent performances. The final ten minutes of the film are fantastic - a hard-hitting conclusion that is sad without feeling contrived or operatic. Though I wonder, how is it that the son is always able to keep up with his father? The guy's running all over Italy; the kid has to be a track star to maintain the pace.
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Post by Incandescence 112 on Mar 20, 2021 14:42:02 GMT -8
I may give it a shot. Just need some time to reassess my favorites and arbitrarily change half of them. Watched the two Italy episodes last night. To fully appreciate the premiere, Jeremy, I think you're going to need to watch all of those Criterion Collection films on Dev's nightstand. Well, at least Bicycle Thieves, from which it draws its most clear inspiration. Several years after J.C. recommended Bicycle Thieves, I have finally watched it. Took me a while to figure out why the film is so celebrated, but once I realized it was the simplicity (or more directly, its down-to-earth realism) that has made it so influential, I could better appreciate the detail and craftsmanship. Great use of subtle storytelling, with a fine score and excellent performances. The final ten minutes of the film are fantastic - a hard-hitting conclusion that is sad without feeling contrived or operatic. Though I wonder, how is it that the son is always able to keep up with his father? The guy's running all over Italy; the kid has to be a track star to maintain the pace. There's plenty of Italian cinema out there that is much more avante-garde if you want, but I agree with the general consensus. Bicycle Thieves is a classic that still holds up over 7 decades later. Not surprised you gave it one of your highest ratings.
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Post by guttersnipe on Mar 21, 2021 8:20:02 GMT -8
13. The Most Dangerous Game (1932, Irving Pichel & Ernest B. Schoedsack) - 6/10 See, world? What is the fuss over this movie about?
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Post by Jeremy on Mar 22, 2021 5:52:18 GMT -8
There's plenty of Italian cinema out there that is much more avante-garde if you want, but I agree with the general consensus. Bicycle Thieves is a classic that still holds up over 7 decades later. Not surprised you gave it one of your highest ratings. Italy has a wild and weird collection of bizarre and outré cinema, more than most other countries, it seems. I probably will watch more, though it would help if they didn't have the annoying habit of being in Italian. 13. The Most Dangerous Game (1932, Irving Pichel & Ernest B. Schoedsack) - 6/10 See, world? What is the fuss over this movie about? It's charming escapist fare for the gung-ho adventure era, with a scene-chewing performance by Leslie Banks. And at 62 minutes, it doesn't overstay its welcome. Beyond that, nothing too special or groundbreaking. Is it widely hailed as a classic?
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Post by guttersnipe on Mar 22, 2021 9:57:15 GMT -8
Seems to be; it's certainly cropped up on a number of critical lists. It's one of my key go-tos when I talk about influence in cinema, in other words, when a picture carries a certain importance for paving the way for some superior pictures* when it has little itself to recommend it.
As it stands, the titular hunt only takes place after two-thirds of the film has already elapsed, and that portion is blighted by a lot of the problematic '30s "dolls' house" mise-en-scene when audio limitations led to a lot of flat, undynamic scenes where two people stand weirdly close to one another in front of a featureless background to the sound of crackles and hisses. Said hunt does offer some fun and stronger cinematography, but all feels a little too late.
It reminds me of how 42nd Street's reputation hinges on a bravura final sequence, which if released in isolation, would make for a brilliant short (and put Busby Berkeley on the map). Unfortunately, it's preceded by a tiresome backstage romance subplot which ends up superceding the main story, which boasts one dance sequence in the first hour (one! It's an eighty-minute movie!).
* Personally, The Running Man, Turkey Shoot, Battle Royale, etc
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Post by guttersnipe on Mar 22, 2021 10:02:39 GMT -8
Italy has a wild and weird collection of bizarre and outré cinema, more than most other countries, it seems. I probably will watch more, though it would help if they didn't have the annoying habit of being in Italian. Steer clear of mondo. You will not like it.
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Post by Incandescence 112 on Mar 22, 2021 17:17:30 GMT -8
There's plenty of Italian cinema out there that is much more avante-garde if you want, but I agree with the general consensus. Bicycle Thieves is a classic that still holds up over 7 decades later. Not surprised you gave it one of your highest ratings. Italy has a wild and weird collection of bizarre and outré cinema, more than most other countries, it seems. I probably will watch more, though it would help if they didn't have the annoying habit of being in Italian. As far as European art cinema goes, I've almost consistently found French and Italian films the most out there and appealing. As you said, tons of bizarre, off the wall stuff that no other country makes quite the same. C'mon Jeremy. 2 inches.
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Post by Jeremy on May 7, 2021 14:55:52 GMT -8
April was a busy month for me, lifewise, so much so that I had to put the project on hold. Shoulda figured I wouldn't be able to keep up the pace for the full year. Oh well.
Anyway, things are starting to wind down again, so I'm back with some more cinematic classics (and occasional clunkers).
Films I watched this week include:
Hollywoodland: A compelling and thoughtful character study into the life of George Reeves, and a nice illustration of the tug-o-war between cinema and the first Golden Age of TV in 1950s America. The bridging sequences featuring Adrien Brody's PI aren't quite as compelling as the rest of the film, but they provide a helpful glaze and just the right level of unreliable narration to the story that, in real life, has never received a proper resolution. Extremely bizarre to watch Ben Affleck play a guy who plays Clark Kent and sleeping with Diane Lane, a decade before they would respectively play Batman and Martha Kent in BvS. Deeply messed up. Anyway, best Superman movie of 2006.
The Monster Squad: This film is so incredibly dumb (and so incredibly '80s that you can practically hear the Duffer Brothers taking notes in the background), but it totally won me over. A lot of laugh-out-loud moments and quotable lines, wand some impressive special effects at the climax. The tone seems a bit confused - despite the kid-friendly content, the film has a PG-13 rating - but that oddly serves to make it funnier to me as an adult.
Taste of Cherry: My foreign film pick for this week is a nuanced and thoughtful exploration of a difficult topic (suicide), told with great skill and care. This Iranian film speaks to those struggling with depression in a way that's unlike most other films dealing with the subject - by letting us inside the head of the main character without telling us anything concrete about him, it allows the viewer to concentrate on his (figurative and literal) drive without concerning ourselves with motivation. The monologue from which the title gets its name is excellent and fully realized - it's only the jarring ending where the film falters.
Cool World: The first Bakshi film I've seen start to finish, and it was probably not the best choice. A weird, frenetic, often unpleasant twist on (ripoff of?) Who Framed Roger Rabbit, with unappealing characters and a cockamamie tone that keeps even the heavier moments from seeming anything beyond superficial. The slapstick comedy is desperate and unfunny (take a shot every time a character gets something dropped on their head), and the whole story ultimately goes nowhere. Will try picking a better Bakshi next time.
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Post by Incandescence 112 on May 9, 2021 11:43:03 GMT -8
April was a busy month for me, lifewise, so much so that I had to put the project on hold. Shoulda figured I wouldn't be able to keep up the pace for the full year. Oh well. Anyway, things are starting to wind down again, so I'm back with some more cinematic classics (and occasional clunkers). Films I watched this week include: Hollywoodland: A compelling and thoughtful character study into the life of George Reeves, and a nice illustration of the tug-o-war between cinema and the first Golden Age of TV in 1950s America. The bridging sequences featuring Adrien Brody's PI aren't quite as compelling as the rest of the film, but they provide a helpful glaze and just the right level of unreliable narration to the story that, in real life, has never received a proper resolution. Extremely bizarre to watch Ben Affleck play a guy who plays Clark Kent and sleeping with Diane Lane, a decade before they would respectively play Batman and Martha Kent in BvS. Deeply messed up. Anyway, best Superman movie of 2006. The Monster Squad: This film is so incredibly dumb (and so incredibly '80s that you can practically hear the Duffer Brothers taking notes in the background), but it totally won me over. A lot of laugh-out-loud moments and quotable lines, wand some impressive special effects at the climax. The tone seems a bit confused - despite the kid-friendly content, the film has a PG-13 rating - but that oddly serves to make it funnier to me as an adult. Taste of Cherry: My foreign film pick for this week is a nuanced and thoughtful exploration of a difficult topic (suicide), told with great skill and care. This Iranian film speaks to those struggling with depression in a way that's unlike most other films dealing with the subject - by letting us inside the head of the main character without telling us anything concrete about him, it allows the viewer to concentrate on his (figurative and literal) drive without concerning ourselves with motivation. The monologue from which the title gets its name is excellent and fully realized - it's only the jarring ending where the film falters. Cool World: The first Bakshi film I've seen start to finish, and it was probably not the best choice. A weird, frenetic, often unpleasant twist on (ripoff of?) Who Framed Roger Rabbit, with unappealing characters and a cockamamie tone that keeps even the heavier moments from seeming anything beyond superficial. The slapstick comedy is desperate and unfunny (take a shot every time a character gets something dropped on their head), and the whole story ultimately goes nowhere. Will try picking a better Bakshi next time. More importantly though....you only gave Jaws an 8?
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Post by Jeremy on May 9, 2021 19:10:29 GMT -8
I loved the first two-thirds of Jaws - great pacing, atmosphere, and music - but it really started to drag in its final act. Didn't find the film all that compelling from a character perspective, so the long scenes with the three shark-hunters on the boat didn't really work for me, and didn't offer as much tension as they aimed for. Still a very good film for most of its run, and obviously an important one for laying the groundwork of the summer blockbuster. (And for better or worse, there are plenty of other acclaimed films I've seen that I would rate below an 8/10, so this would hardly be one of my most controversial stances. )
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Post by guttersnipe on May 10, 2021 6:46:28 GMT -8
Hollywoodland: Anyway, best Superman movie of 2006. Burn, but how's that director's cut of Superman II (if it counts)? I never got around to seeing that. The Monster Squad: A lot of laugh-out-loud moments and quotable lines "Sean, he always returns from his grave. If they blew him up, put his head in a blender, and mailed the rest of the pieces to Norway, he would still return from the grave!" / "That was Part 7." Taste of Cherry: This Iranian film speaks to those struggling with depression in a way that's unlike most other films dealing with the subject - by letting us inside the head of the main character without telling us anything concrete about him, it allows the viewer to concentrate on his (figurative and literal) drive without concerning ourselves with motivation. I always love it when you watch something that seems like a totally arbitrary choice. I struggled a bit to warm to Kiarostami, and this film was the one where I began to realise his talent. Very much a film with undertow. Cool World: The first Bakshi film I've seen start to finish, and it was probably not the best choice. Will try picking a better Bakshi next time. Yeah, this is rubbish. I often say Bakshi isn't for everyone, but I'm not sure Cool World is for anyone.
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Post by Jeremy on May 10, 2021 19:59:53 GMT -8
Truth told, a lot of the foreign/obscure films I've been watching come to me by way of the film podcasts and shows I listen to. I typically tune in for the hosts' discussion of the more mainstream stuff, but sometimes they'll bring up something more outré, and I'll check it out to be in the loop. Burn, but how's that director's cut of Superman II (if it counts)? I never got around to seeing that Honestly, neither did I. I'm told it's a more mythic, less grounded iteration of the story (and was willed into existence by a fairly non-toxic fanbase, as contrasted with a more recent example of a DC director's cut), but I don't think I was able to find a copy when it first came out, and eventually just forgot about it. As for the other 2006 Superman movies: Superman Returns is long and lukewarm. Look Up in the Sky! is entertaining, but nothing too complex. And Brainiac Attacks is total garbage. Did I miss any?
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