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I quite enjoyed Scott Pilgrim. If you think of it as a Musical but with Video Games instead of music (i.e. songs in musicals being used to convey a character's deeper thoughts:Scott getting into a video game fight because that's HOW he sees his life) then the whole thing makes a lot of sense.
Twig24 wrote:Batman = lotr
Wait, what?
Brian Finifter wrote:Right, the real heart of believability is human behavior. Do the characters behave in such a way that feels true?
And that's why I'm ok with Spider Man 2. Toby and Kirsten aren't my first choices for the characters, by any stretch. As written, there aren't great explanations for his choices, but at the end of the day, they perform well enough to where I believe his longing for her and her complete exasperation/infatuation with him. The details don't always add up, and as such this film will never be in heavy rotation for me, but I liked in the theaters, and I liked it in a subsequent viewing.
Same with Inception. There was probably easier ways for Leo to see his kids, but I totally bought his desperation to see them. So when the opportunity came for an elaborate plot to see them again, I was along for the ride. It's not a perfect movie for it, but I had fun.
If one film (LotR) is more true than the other (SM2) its not because of settings or even premise, but on the relationships and motivations of the characters.
They are not because while Lord of the Rings takes place that never existed (Middle Earth), in a time that never existed (?), and with species that never existed (Orcs, Hobbits, Viggo), Spider Man 2 takes place here and now, with fantastical elements (super powers, wonky science) added to familiar settings (New York) and species (humans).
I enjoy Inception quite a bit for its creativity, if not its overall coherence. I'm not too miffed he missed Best Director, but I'm happy with the Best Picture Nom. It won't win a whole lot Oscar night, but it was certainly a movie I enjoy.
As for Kev, Chasing Amy was a hugely influential movie on me, in terms of how to balance tone and nail a not-so-happy ending that's still satisfying. These days, Smith is so insular in his echo chamber of fanboys its just depressing to watch. I saw him speak at the DGA in 2000 and he was so warm and affable it was refreshing. But the success of his speaking engagements created this cult of personality that he's never quite been able to escape from.
Yeah, his whole stunt at Sundance was a kernel of a good idea wrapped in a huge ball of douchebag. I respect him literally going all in with the rest of his career, but to invite acquisition folks he's known for 15 years under false pretenses, then insult them publicly to their face, and then rant incoherently about your half brained scheme...wow. Whatta guy.
Part of why I think DiF has something to offer on classics is that the cast (wether its the main 4 or any of our subs) is that we are all working in the industry in 2010 in various capacity. We know what 400 Blows means to an Ebert, AO Scott, or Manhola Dargis. But what does it mean to a VFX'er in their early 20's, an Editor in his 30's, or a Director in his [REDACTED]? That's what DiF does well, I think is offer what these films mean to a certain type of moviegoer. Sure, THX-1138 has been wanked over for 30 years. Great. But is it relevant to us? And if so, how? That's what interests me.
I love Rear Window. The wife and I just watched it again the other night and damned if it doesn't still hold up.
But considering Vertigo has ten minutes of no dialogue and you dont even notice, I would make an argument that that is fairly strong visual storytelling as well.
My personal favorite Hitchcock is Shadow of a Doubt, with JoeCotton. But if we're doing a Film School month, Vertigo, Psycho, or NxNW would be a better choice.
Recommendations for Film School month (way more than possible):
Rashomon
Citizen Kane
Lola Rennt
North by Northwest
Paths of Glory
Das Boot
Soy Cuba
Treasure of the Sierra Madre
The Wild Bunch
Touch of Evil
Midnight Cowboy
Once Upon a Time in America (Director's Cut)
Europa Europa
Throne of Blood
Vertigo
Butch & Sundance
THX 1138
Godfather
vidina wrote:go watch "Megamind". You'll see why evil shouldn't win.
Heh, the star of my only fan film, "The Knudson Mencae," was a co-writer on MegaMind. I actually liked it just fine. Megamind, not Knudson.
But I also kinda like Knudson.
MasterZap wrote:I am primarily investedin Trey, Dorkman, Teague, Ryan-or-Brian, but notsomuch the others (sorry, others).
/wrist
He looks much more like his mom. But his hands always default to a boxing stance. More like Tyson's or Mickey Ward's than say, a Klitschko or Tua. This tells me he will throw short hooks and uppercuts while inside the pocket than using his jab to maintain distance.
...or it just means he likes to scratch his face.
Dude, you have no idea. We had a discussion where we have to aggressively hunt sleep down. He's asleep for 15 minutes? go!
Thank you everyone. Grayson Aaron Doty was born Monday the 17th at 0535, 8 pounds 8 ounces and 21.5 inches long. He is resting with his mama at home and is full of fucking WIN.

switch wrote:please don't make me watch Kingdom of Heaven again... I've wasted 6 hours of my life on that film, and that's enough. You haven't done Bladerunner yet. You need to do that one.
You guys haven't tackled anything Kurosawa yet. You guys should do Seven Samurai! Talk about some of the techniques used in that film like the axial cut.
I didn't like the theatrical cut of Kingdom of Heaven and wasn't impressed. THen I saw the directors cut and was gobsmacked at how much ass it kicked. 'm not talking about extended scenes, I'm talking entire characters, subplots, motivations, etc that were hacked out of there. For instance, did you know in the director's cut, that Emma Green's character had a son? And that he actually becomes king once Edward Norton dies? Or that the dude that Orlando kills in the beginnig was his brother? Yeah, that's the extent of the hackery. The studio essentially forced Ripley to cut two different versions of his film at the same time, and while Ridley made his case for his cut, the studio wanted more action and cut down everything else.
It's a superb film on its own, and its a shame what happened to it.
I was always partial to On Her Majesty's Secret Service. George Lazenby is way better than people remember, and the ending was shocking for the time. Solid forgotten film.
I think that's the firs time that's come up.
I certainly agree that RLM articulated a lot of points that were on the tips of many angry tongues, and did so in a fresh way. But just like I think that Lucas could have made all three Prequels into one tighter movie, I think Plinkett could have made his point about all three movies in one large review.
I've become increasingly less interested in these. I thought the TPM review was a fun little thing, but these belabor many of the same points he made then. While I agreed largely with his point of Lucas getting lazy and just live switching between two cameras filming a couch conversation, I felt the rest of it was a bit thin.
I dunno, I'd almost rather listen to an hour long review of why the prequels are better than the original trilogy, and I'll tell you why. I agree that the Prequels were bloated, unnecessary, and flawed from conception. While RLM articulates these points well, I'm not sure why I want to listen to a dude make a point that essentially boils down to a "duh."
I'd rather have an intelligent person make an insane point (The prequels are better than the godfather trilogy) with a level of articulation that make me reconsider than someone parrot what every SW fanboy has been saying for the last 11 years.
I do in fact prefer Magnificent Ambersons as well, but I don't sleep on Kane at all. I don't think you can deny it's influence, but Ambersons has a more interesting story to tell, and all things being equal, I gravitate to story. Apocalypse Now is one of my all time favorites and I have no idea how we would comment on it or Kane.
What I would say is that often our best commentaries are not ones where we unleash never before heard trade secrets, but give our own unique perspectives on films in a context of our places in the industry, as film lovers, and at this moment in time. In short, I think people respond to how these movies are personalized by the cast. I think when it comes to so-called classics, we shouldn't try to parrot the dialogue of film critics past, but add a contemparay take on why these films are still relevant (or not) to the DiF crew, and why they should be relevant (or not) to you, the audience.
Fair enough. I am a tad reflexive about it because it gets a lot of hate. But I would argue that I don't feel the pace is slow as it is deliberate.
And thanks to the magic of Webtubes, the very clip from the Z Channel doc I mention. Skip to 5;37 of this clip to hear the talk about OUATIA.
http://www.youtube.com/watch?v=rhNLr1HQuCU
fcw wrote:dudewheresmyrubber wrote:what i meant was i think Godfather's just a different animal in that its paced much slower then those movies & it would have a harder time with people today who've never seen it. It's the anti-add movie..
The Godfather is a JJ Abrams movie compared to Once Upon a Time in America.
I'm gonna stop you right there......
The untouched director's cut of Once Upon a Time in America is both a classic and a cautionary tale of the studio system, and should be a lesson for all filmmakers of just how much damage a studio cut can not only do to your film, but your career as well.
Sergio Leone was one of the greatest filmmakers who ever lived and it is nothing short of a tragedy that when people think of OUATIA that they think of the studio mandated cut that was over seen by the ASSISTANT EDITOR OF POLICE ACADEMY 2, and not his director's cut. Though his cut is longer, it has a much better narrative flow, and feels like a totally different movie. Watch the documentary Z Channel for more on it, but do not judge that film by what you saw.
Posts found: 1,301 to 1,325 of 1,631