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V for Vendetta. Another comic book movie, but not like many others. I like it, alot.
Seconded,
I get why some of you folks don't like it, but I do actually kinda like it.
And I'll throw in Finding Neverland.
And oh yah, The Aviator. (In the middle of the Titanic, atm, thanks for reminding me 
)
Last edited by BigDamnArtist (2010-03-22 20:27:07)
Love The Aviator.
Love The Aviator.
Ew.
I'm all for V for Vendetta though. I think the movie is great, but having read the graphic novel I totally see why people who started there were not particularly cool with the movie. They have polar opposite messages.
You don't like The Aviator? How can anyone not like The Aviator?
I almost have the same response as you do to conversations about Inglorious Basterds: what is there to like about The Aviator?
That's a slightly tongue-in-cheek question, as the movie does have some clear things going for it. Leo turns on a solid and relatively memorable performance (or, at least, his final moment is meme-worthy), the filmmaking is strong on a technical level and I appreciate the use of real miniatures in the FX department.
Still, my only thought at the end of the movie was "Uh...why did I just watch that?" I felt like I'd wasted my time watching it.
But I tend not to like biopics as a general rule, so it might have had that going against it from the outset.
Well, when you put it that way, it makes Inglourious Basterds make more sense.
I love The Aviator because I love the charactery performances and every moment they're on screen REGARDLESS of the story. (Plus, you know. Planes. Old Hollywood.) It makes me love every single moment regardless of its strength in the story.
I can see how a lot of people could have more fun with Inglourious Basterds than I did, when I put it that way.
I'm totally with Teague on this one.
And that might actually explain to some extent why I like Inglorious Basterds as much as I do.
And on another note, I'll also throw Stranger Than Fiction into the hat. Probably one of the only performances I actually enjoyed Will Ferrell in. And honestly Maggie Gyllenhaal ain't to shabby either.
Adaptation
Oh yah, and maybe you guys could actually make Synechdoche NY make any amount of sense for me. It's a long shot, but it might be worth it.
Last edited by BigDamnArtist (2010-03-24 05:39:26)
I really liked Synecdoche, and I think I'm the only one on the panel. Make it make sense is a tall order, but.
Oh yah, and maybe you guys could actually make Synechdoche NY make any amount of sense for me. It's a long shot, but it might be worth it.
I hate that movie so fucking much I can feel an ulcer coming on just typing this.
maul2 wrote:Oh yah, and maybe you guys could actually make Synechdoche NY make any amount of sense for me. It's a long shot, but it might be worth it.
I hate that movie so fucking much I can feel an ulcer coming on just typing this.
I honestly can't say how I feel about it. I just feel lost... it's not hate or love or anything just a lostness, a hopeless void of understanding.
But from the sounds of you 2 it could make for a really interesting commentary.
This might not make any sense, but I loved Synecdoche even though I didn't enjoy watching it at all. It's in the same category as Antichrist and Requiem for a Dream for me.
I don't think it's supposed to make-sense-make-sense. I think it's dream logic. I found it uncomfortable and unpleasant to watch, but it resonated with me.
If you guys do that one, it'll be one I listen to without the film going.
What about There Will Be Blood? That one popped into my head 'cause on that same list of resonated-even-though-I-didn't-enjoy is Punch Drunk Love, which I admit I have never yet seen all the way through. I was captivated by the long takes and the idiosyncratic camera work, but Adam Sandler just made me too damn uncomfortable. I turned it off two thirds of the way through 'cause I was just too freaked out.
I don't know how I feel about Synchedoche, but I think I'd like a Down In Front to figure it out. At the very least, the level of hatred from Mike would surely make it entertaining.
I love the Aviator, but largely because it plays in the juncture of two worlds I unabashedly love.
I also love Stranger than Fiction, not sure how much there is to talk about, but it might be an interesting platform for a discussion about premises and magic beans. Also, Dustin Hoffman rules.
I may be beat up for this one because no one saw this movie, but I think flirting with disaster could stand up to scrutiny. If nothing else, why did the movie fail? Is it really funny or just shocking and unexpected. Funny is something that last but unexpected or shocking would fade over time. I loved it but I'm curious about what you guys think.
downinfront wrote:Love The Aviator.
Ew.
I'm all for V for Vendetta though. I think the movie is great, but having read the graphic novel I totally see why people who started there were not particularly cool with the movie. They have polar opposite messages.
I never read the graphic novel, although I heard the rumblings about that the movie screwed up the message. I really like the movie, so I almost refuse to read the comic book because I don't want the movie to be ruined for me.
8mm
I own this movie, and I'm not sure why. I think its because after I watched it I was thinking to myself, "I should have strong feelings about this movie, one way or another. But I don't." Its so dark and bleak, should it be praised for that? I just don't know. I think I watch it to give my mind a slap once and awhile. Then there's Nicholas Cage...
Last edited by FireFighter214 (2010-03-25 06:46:24)
I found 8mm to be deeply unsettling, but since so much time has passed since watching it, it could be that my memory of it is greater than it actually was.
I second Rocketeer, mainly because it's a film I only recently saw for the first time and would be interested to hear the arguments for it being a perfect movie (at the outset, I find the lead actor to be weak, a sort of poor man's Harrison Ford, and it has a double hocus pocus ending).
At the risk of spoiling Rocketeer for those who may not have seen it (and if not, you should), I'm curious what you think the "second magic trick" is in Rocketeer, I've never noticed one myself.
The one trick I can think of would be "somebody invented a working personal rocket pack in the 1930's" which isn't even anywhere near the magic-trick level of "Guy uses a ham radio to talk to his dead dad in the past" (Frequency) or "Sandra Bullock can send letters through time to Keanu Reeves" (The Lake House) and so on. For the record, I liked both of those movies too - they both explored the ramifications of their magic trick pretty well, I thought.
Where's the double hocus pocus in Rocketeer, in your opinion? You could rock my world here if you've found one.
As for Bill Campbell, I liked the guy myself. Always thought he should have had a bigger movie career, though he's done pretty okay for himself, just never became a household name.
The movie you guys should really do is PRIMER 
Oh good lord. Merely thinking about Primer gives me a headache. Don't get me wrong; I think it's a brilliant film. But I've seen it three times, and I'm no closer to understanding the plot than I was before my first viewing.
Which means it'd either be the best Down in Front ever, or ninety minutes of "four friends in your head" going "Fuck if I know" over and over again.
I thought Primer was an amazing achievement, but I don't think there's a person alive who fully understood it after one viewing. I certainly didn't, but I was intrigued enough to search online, and sure enough somebody had mapped out the entire thing. (I think it was in the forums of the movie's official site, if that's still online.) Even then I didn't fully "get it", but I accept that it actually does fit together.
Primer actually would be a really good one to do, I'm just not sure how many of the rest of the gang have seen it. Guys?
At the risk of spoiling Rocketeer for those who may not have seen it (and if not, you should), I'm curious what you think the "second magic trick" is in Rocketeer, I've never noticed one myself.
The one trick I can think of would be "somebody invented a working personal rocket pack in the 1930's" which isn't even anywhere near the magic-trick level of "Guy uses a ham radio to talk to his dead dad in the past" (Frequency) or "Sandra Bullock can send letters through time to Keanu Reeves" (The Lake House) and so on. For the record, I liked both of those movies too - they both explored the ramifications of their magic trick pretty well, I thought.
Where's the double hocus pocus in Rocketeer, in your opinion? You could rock my world here if you've found one.
As for Bill Campbell, I liked the guy myself. Always thought he should have had a bigger movie career, though he's done pretty okay for himself, just never became a household name.
**Spoiler Warning**
I love the Rocketeer, that's why I suggested it. However, the second piece of magic may be that there are Nazi's in Hollywood. Not just a spy, but a whole platoon shows up. Also, the Nazi's (I'm not sure what the plural of Nazi is) hire the mob as muscle. I'm not so sure that easy to accept either.
Aha, well - while those things are improbable (really, nearly everything that happens in any action movie is improbable), they're not impossible or literally magical, which is really what Double Mumbo-Jumbo is describing.
i.e. the movie wants us to accept the existence of a could-never-have-existed rocket pack, so okay fine. If then at the beginning of Act III, a wizard showed up, or the archangel Gabriel or what have you, that'd be double-mumbo-jumbo - two unrelated inexplicable/impossible story points in one story. But there's nothing impossible or magical about Nazi's secretly hiding out in Los Angeles, or hiring local goons to do their bidding.
But it's certainly okay if you didn't buy the idea, that's entirely fair. Me, that's my favorite part of the movie, it comes right from the classic movie serials that Rocketeer was emulating. Just as Star Wars was partly an homage to the Buck Rogers serials, Rocketeer was an homage to RocketMan and Spy Smasher, etc.
And in those, boy, there were Nazi's and mob bosses hiding behind every bush in America. Which kept Spy Smasher pretty busy, as you can imagine.
Aha, well - while those things are improbable (really, nearly everything that happens in any action movie is improbable), they're not impossible or literally magical, which is really what Double Mumbo-Jumbo is describing.
i.e. the movie wants us to accept the existence of a could-never-have-existed rocket pack, so okay fine. If then at the beginning of Act III, a wizard showed up, or the archangel Gabriel or what have you, that'd be double-mumbo-jumbo - two unrelated inexplicable/impossible story points in one story. But there's nothing impossible or magical about Nazi's secretly hiding out in Los Angeles, or hiring local goons to do their bidding.
But it's certainly okay if you didn't buy the idea, that's entirely fair. Me, that's my favorite part of the movie, it comes right from the classic movie serials that Rocketeer was emulating. Just as Star Wars was partly an homage to the Buck Rogers serials, Rocketeer was an homage to RocketMan and Spy Smasher, etc.
And in those, boy, there were Nazi's and mob bosses hiding behind every bush in America. Which kept Spy Smasher pretty busy, as you can imagine.
No, I agree with you. I liked that part of the movie, very much. I just thought it was the next biggest thing in that movie that audience was asked to swallow. But i think you're right. I think it fit within the world they created enough so that he could still be accepted. Maybe the Rocketeer only had one piece of magic, the rocket pack.
You're right Trey, it's not magical, just improbable.
What stretches credibility for me is the deus ex machina of [SPOILERS] the gangsters joining forces with the FBI against the Nazis [END SPOILERS].
I do find the impossibly strong meathead henchman slightly magical, but I accept it on the basis of it being an aspect of this comic book world.
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