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Post by Martin Stett on Dec 18, 2017 15:52:24 GMT
Silence (2016) -- A grim movie about torture that is more interested in its themes than its characters. They're never more than a device for looking at themes of faith and doubt, and that drags the movie down. These aren't fully realized people. It's hard hitting stuff and rarely boring, but it never comes alive either. 6/10
Y Tu Mamá También (2001) -- Sex is boring.* Yeah, I said it. As a plot device to hang a movie around: Sex. Is. Boring. Movies that focus on sex fail to arouse any emotion, because they're focusing on an animal instinct. It's like making a movie about sneezing. By focusing on insufferable horny teenagers, the director makes a shitty movie. Oh, there's other stuff going on in the "background" showing the pain Mexico was in at the time (although these elements are so on the nose that the movie may as well be flashing a neon sign saying "SERIOUS MOVIE HERE"), but it never overcomes the fact that this movie is about two horny kids that I wanted to murder in ever more gruesome ways as the film went on. 2/10 *A statement made by a virgin
20th Century Women (2016) -- What a sweet surprise this was. Mills gets out of hand with his narration sometimes, but the core of the movie is so sweet and funny that it's hard to dislike. Besides, anything that has this round of dialogue --
"What was the fight about?"
"Clitoral Stimulation."
"......Why would you need to fight about that?"
-- can't be all bad. 7/10
A Brighter Summer Day (1991) -- This movie had no right being 4 hours long. Yang could have told the same story in half the time. In fact, he could have cut the entire first half of the movie altogether and lost nothing at all. There's a difference between being naturalistic and being unfocused, and this definitely the latter. When the plot is actually in full swing, it works pretty well (although Yang intentionally obscures some key moments so we have no idea what's going on because he's an arty asshole). But damn, Yang needed someone to tell him that he had his head up his ass during this movie. 4/10
Tower (2016) -- Watched at Stephen's recommendation. I think he's right: this may be the best movie of 2016. By focusing on the people involved on the day of 8/1/1966, this film becomes a compelling portrait of the shattering fear and unbelievable bravery that was shown, instead of a dryer, more intellectual probe into Charles Whitman (who is only mentioned by name once). This was an amazing find. Thank you, Stephen. 9/10 at least
Your Name (2016) -- It was fine and all, but I didn't care for it that much. It was a sweet body-swapping comedy, but I really felt that it was petering out after half an hour and would outwear its welcome. Boy, was I wrong. This takes a hard turn into becoming a Makoto Shinkai movie right in the middle, and after using the silly body swap idea to introduce us to the characters and get to like them, this goes for the jugular. It's a good-natured movie about good people in pain and hurt, and the way Shinkai crosses over from comedy to drama is damn inspired. This actually does deserve most of the acclaim it is getting from the anime community. Damn, I was wrecked by the end. 9/10 at least
I think those last two are gonna be in my top 10 favorites of all my first watches this year. Maybe my top 5.
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Post by stephen on Dec 18, 2017 16:16:40 GMT
I will always be glad to spread the Gospel of Tower, and now you must as well.
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Post by stephen on Dec 18, 2017 16:24:08 GMT
Pottersville: Honestly, I thought it was goofy, harmless fun. Ian McShane, Ron Perlman and Tom Lennon are having an absolute ball in their "Jaws in the woods" routine. The rest of the film is kinda dull in comparison, but it doesn't deserve the sheer vitriol it's getting.
The Ballad of Lefty Brown: What if Bill Pullman played Andy Devine for two hours? It's a fun romp that owes a lot to the likes of The Man Who Shot Liberty Valance, with a very stolid and dependable supporting ensemble, including Tommy Flanagan in a really juicy role that plays to his underutilized strengths as an actor. I dug it.
The Last Jedi: The franchise needed to buy back a lot of goodwill with me after Rogue One, and I am delighted to say that not only did it right that ship, it honestly might have outstripped any other Star Wars film in my opinion. Rian Johnson is the perfect lens with which to view the universe: there are moments of auteuristic verve, but not enough to make it feel isolated from the rest of the series's energy. It's akin to what he was able to do with Breaking Bad. I think that Mark Hamill deserves more awards consideration than Ford ever did for Force Awakens; what the guy is able to do with facial reactions is amazing. I also think this is the first time a Star Wars film has wowed me with its cinematography.
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Post by mikediastavrone96 on Dec 18, 2017 16:54:59 GMT
The Last Jedi: Everything involving Luke/Rey/Kylo is aces and I love everything this film does to expand the mythos and universe of Star Wars. However, the subplots involving Finn/Rose/Poe don't work much at all for me, feeling like a drag on the pacing with its convolutions and logical gaps. Johnson needed to streamline the roles of those supporting characters and tighten the focus to keep it centered on the titular story arc rather than taking 20 minute dalliances with Planet Atlantic City to service something that goes nowhere. I want to see the film again to see if there's stuff I am not paying enough attention to, but right now I think this has some of the highest highs of the saga but could have been better constructed on the whole.
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Post by Deleted on Dec 18, 2017 17:00:39 GMT
Your write up on A Brighter Summer Day is one of the worst things I have ever read.  What "key points" does Yang intentionally obscure because he's an "arty asshole" (whatever that means)? I remember the story being very straight forward. And if any movie justifies being so long, it's ABSD. It's so beautiful! Anyway, I actually don't think I've ever come across anyone who didn't love that movie, let alone hate it like you did. Here's what I watched this week. Twin Peaks: Fire Walk With Me - rewatched this, it's even better than I was giving it credit for at first. The Killing of a Sacred Deer - I've come to realize I am not a big fan of Lanthimos. The Lady Vanishes - definitely a lesser Hitchcock. Cannibal! The Musical - a few funny bits, overall didn't do much for me. |
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Post by Martin Stett on Dec 18, 2017 17:16:46 GMT
Your write up on A Brighter Summer Day is one of the worst things I have ever read. What "key points" does Yang intentionally obscure because he's an "arty asshole" (whatever that means)? I remember the story being very straight forward. And if any movie justifies being so long, it's ABSD. It's so beautiful! Anyway, I actually don't think I've ever come across anyone who didn't love that movie, let alone hate it like you did. Hate is too strong a word. I simply disliked it. In the obscuring of key information, I'm thinking specifically of the gang attack towards the end of the film that features a bunch of people that have never been seen before or (or will be seen after) going on a massacre. You're left to figure out who these people are and why they're here, when the characters already know. Then there's the subplot involving S'ir's father getting detained by the secret police -- pretty straightforward in a fashion, but in the end it doesn't add anything to the characters. It fills space. Any character development arising from that could have been handled in far, far less time. ALL of the stuff with the gangs fills space without telling us anything about these kids. The gang stuff goes on interminably long, and the only payoff is that some of 90+ characters in this bloated film get killed off every once in a while. Not that I care who they are, because not one supporting character has any personality that can be differentiated from anyone else. As for the "arty asshole" comment, I stand by it. Anyone who makes a movie that is this damn long and fills it with so little happening is the sort of guy that critics and movie nerds orgasm over, and there's nothing wrong with that... unless your characters are as bland and opaque as the people in ABSD are. It's beautiful, sure, but it doesn't say anything, other than "hey, life kinda sucks sometimes." |
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Post by Pavan on Dec 18, 2017 17:28:27 GMT
The Meyerowitz Stories (New and Selected) (2017)- 7/10
Wonder (2017)- 7/10
Star Wars: The Last Jedi (2017)- 7/10
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Post by Deleted on Dec 18, 2017 17:46:08 GMT
Your write up on A Brighter Summer Day is one of the worst things I have ever read. What "key points" does Yang intentionally obscure because he's an "arty asshole" (whatever that means)? I remember the story being very straight forward. And if any movie justifies being so long, it's ABSD. It's so beautiful! Anyway, I actually don't think I've ever come across anyone who didn't love that movie, let alone hate it like you did. Hate is too strong a word. I simply disliked it. In the obscuring of key information, I'm thinking specifically of the gang attack towards the end of the film that features a bunch of people that have never been seen before or (or will be seen after) going on a massacre. You're left to figure out who these people are and why they're here, when the characters already know. Then there's the subplot involving S'ir's father getting detained by the secret police -- pretty straightforward in a fashion, but in the end it doesn't add anything to the characters. It fills space. Any character development arising from that could have been handled in far, far less time. ALL of the stuff with the gangs fills space without telling us anything about these kids. The gang stuff goes on interminably long, and the only payoff is that some of 90+ characters in this bloated film get killed off every once in a while. Not that I care who they are, because not one supporting character has any personality that can be differentiated from anyone else. As for the "arty asshole" comment, I stand by it. Anyone who makes a movie that is this damn long and fills it with so little happening is the sort of guy that critics and movie nerds orgasm over, and there's nothing wrong with that... unless your characters are as bland and opaque as the people in ABSD are. It's beautiful, sure, but it doesn't say anything, other than "hey, life kinda sucks sometimes." The massacre was in retaliation for Honey's murder, IIRC. Can't quite remember the circumstances of the protagonist's father being detained, last time I watched this was like a year and a half ago, but I remember being pretty disturbed by that whole sequence at the time and certainly not feeling like it was wasted space. I disagree that there was so little happening in ABSD. I think in terms of executing such a wide range of morally/emotionally complex themes and situations, it's up there with the very best. It's not a fast paced film, but I was riveted the whole time, and I think it's unfair to essentially imply that fans of the film only like it because Yang is an "arty asshole" (which, of all the directors you could say that about, I really don't think it should apply to him). I found the characters extremely realistic and genuine. The gradual feelings of detachment, displacement, and depression that the protagonist undergoes prior to the "big moment" of the film is done with such care and compassion it's almost unparalleled. On a semi-related note, I would make a case for Chen Chang giving one of the best child performances of all time. Obviously we're not going to see eye to eye on this one as I consider it a strong contender for being the best film of the 1990's and you gave it a 4, but I do think this one is worth revisiting (or even just reading up about) if you're at all interested in giving it another shot. |
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Post by therealcomicman117 on Dec 18, 2017 17:47:29 GMT
Macbeth (1948) - 7.5 / 10
Star Wars: The Last Jedi - 8.5 / 10
Ninotchka - 7.5 / 10
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Post by pacinoyes on Dec 18, 2017 17:59:20 GMT
Wonder Wheel - Something like a 6.5+ artificial, and uneven and shakily scripted tragedy elevated by a great Winslet and even greater Storaro.
Night and the City - Original classic, great Dassin, Widmark is a charismatic wonder - 8.0-8.5
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Post by notacrook on Dec 18, 2017 19:20:10 GMT
mother! (re-watch) - 7/10
The Killing of a Sacred Deer - 6/10
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Post by Martin Stett on Dec 18, 2017 19:25:41 GMT
Hate is too strong a word. I simply disliked it. In the obscuring of key information, I'm thinking specifically of the gang attack towards the end of the film that features a bunch of people that have never been seen before or (or will be seen after) going on a massacre. You're left to figure out who these people are and why they're here, when the characters already know. Then there's the subplot involving S'ir's father getting detained by the secret police -- pretty straightforward in a fashion, but in the end it doesn't add anything to the characters. It fills space. Any character development arising from that could have been handled in far, far less time. ALL of the stuff with the gangs fills space without telling us anything about these kids. The gang stuff goes on interminably long, and the only payoff is that some of 90+ characters in this bloated film get killed off every once in a while. Not that I care who they are, because not one supporting character has any personality that can be differentiated from anyone else. As for the "arty asshole" comment, I stand by it. Anyone who makes a movie that is this damn long and fills it with so little happening is the sort of guy that critics and movie nerds orgasm over, and there's nothing wrong with that... unless your characters are as bland and opaque as the people in ABSD are. It's beautiful, sure, but it doesn't say anything, other than "hey, life kinda sucks sometimes." The massacre was in retaliation for Honey's murder, IIRC. Can't quite remember the circumstances of the protagonist's father being detained, last time I watched this was like a year and a half ago, but I remember being pretty disturbed by that whole sequence at the time and certainly not feeling like it was wasted space. [...] I think it's unfair to essentially imply that fans of the film only like it because Yang is an "arty asshole" I knew it was in retaliation for his murder, that was clear enough. But throwing in a whole new (bigger city? Honey's connections?) gang to avenge it without explaining who they are and without showing how much his gang is involved is meaningless obfuscation, to my eyes. And the stuff with the secret police isn't bad on its own merits, but it has no place being in the same movie as all of the other plotlines. Which is my core problem with the film: there is too much going on between too many people, and as a result, nothing has impact. I didn't mean to insult anyone, more to voice my displeasure with Yang. His is a style of moviemaking that I found to be geared to a crowd that I'm not a part of, and I never meant to insult anyone who enjoys the film, although my wording was very poorly phrased in my explanation. Just as I wouldn't insult anyone that likes, say, Adam Sandler comedies -- I will tear into a movie if I see no merit in it, but insulting the people who enjoy it does not make for reasonable discussion. I meant to imply something else entirely, but my hyperbolic statement has put me into a corner. |
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Post by Sharbs on Dec 18, 2017 20:26:26 GMT
Pacific Rim (2013) - 6/10
Lenny (1974) - 8.5/10
Mimic (1997) - 5/10
Looper [re-watch] (2012) - 8.5/10
The Big Heat (1953) - 7.5/10
Star Wars: The Force Awakens [re-watch] (2015) - 8/10
Star Wars: The Last Jedi [x2] (2017) - 9/10
Two Men in Manhattan (1959) - 5/10
The Shape of Water (2017) - 10/10
Carol [re-watch] (2015) - 8/10
Rebel Without a Cause (1955) - 3.5/10
The Host (2006) - 6.5/10
Le Deuxieme Souffle (1966) - 9/10
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Post by urbanpatrician on Dec 18, 2017 20:29:25 GMT
Wow, I completely disagree with you. 20th Century Women and Tower are both extremely mediocre; and Y Tu Mama Tambien is at least a notch better. Can't imagine A Brighter Summer Day being as underwhelming as 20th Century Woman and Tower.
U.S. Go Home - Maybe just a tiny step below Akerman's contribution in this series, but still stays true to that 60s European era - and that spoiled generation is on emphasis here through suburban culture. Maybe Akerman's film is just a little bit better because of a more philosophical nature, but I give them the same rating. 7.5/10
Moonlight - I no longer think it's tripe, but.... I don't have much of a connection to it. I think the cinematography is the best thing about it. I can totally see an argument for it being like Weerasethakul. I can't say it did it better than he does, because mimicry is rarely as good as the original product, but it at least wasn't completely amateur. I mean, maybe a little but still not an embarrassing first breakout feature or anything. If anything is at fault here, it's the story. I just find the story pretty average, and it's mostly uninvolving. 6/10
The Nightmare Before Christmas - not sure of the small cult this movie has. I think it definitely represents an animation style that lots of people like, and the world of Burton is always appealing. It wouldn't be one of my favorites of his joints though. I'm more partial to Sleepy Hollow or Mars Attack. I guess that's just preference though. 7.5/10
Chocolat (1988) - Mediocre. Like an early Denis. It is early actually. It feels like nothing more than an imprint of her later years to come. 6/10
White Material - Oddly appealing in some ways. Like wartime hustle that feels a bit like Salvador or The Red and the White. And the cinematography is quite vivid and good. One of my favorites from Denis. Her upper 2 films, I feel.... among ones i've seen. 8/10
M - Never got the classic status. Thought it was pretty talky, and while not quite like an Old Hollywood classic, it feels a bit like nothing stands out here. I mean, I get that they're debating what to do with the killer, and analyzing the killer's disgusting nature was a great portion of the film, but eh.... Maybe it's not fair to criticize this film because of what later films were able to do better. I don't have any major problems with it, I just thought it was a pretty good film, but not one-of-a-kind. Fritz Lang is pretty overrated to me, and his films feel like they've lost a bit of luster now and they feel like standard classics, not the obscure kind that I tend to drool over. 7.5/10
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Post by Lord_Buscemi on Dec 18, 2017 20:47:26 GMT
Star Wars: The Last Jedi - The narrative momentum of Rey and Kylo's light/dark conflict (which is easily the best stuff in the film because it tosses ludicrous fan theories out the window) is regularly undercut by jolting shifts to fatuous subplots; further bogged down by an overabundance of failed comedy that is tonally detrimental for a supposedly darker sequel (transitions from goofy light-heartedness to the seriousness of animal cruelty and child labour don't mesh well), and an excessive quantity of contrived plot amour renders the unpredictability factor null and void because now we know our main three are impenetrable, constantly saved by contrivances. I admire the boldness to take the franchise in a new direction after the safe approach to TFA, but that's as far as my praise of it can go.
The Greasy Strangler - Maybe I enjoy reviling in its own morbidly crass sewer of filth without searching for a satirical edge beyond that, just excepting the obscenity for what it is and laughing relentlessly along the way, and that’s why this was such a blast; an unapologetically senseless ocean of greasy John Waters-esque vulgarity, Tim and Eric inspired eccentricity, large quantities of hot cum and a multitude of repellent penis prosthetics; which would, in other instances, usually be hit-and-miss or plain bad - but there’s something *indescribable* about the execution here, making its deadpan, gross-out humour and surrealism succeed in one of the most consistently funny experiences I’ve had in a long time. A film that isn’t for everyone, but the select few people that this type of specific comedy appeals to will love it.
The Night Is Short, Walk On Girl - I adored the minimal detail put into the animation; it's simple to look at yet bursting with colourful spurts of vibrancy and liveliness, and the playful, inventive visual style in which the story is presented in makes it an even further treat for the eyes. It's cosy and whimsical viewing, but the central romance drags it down - it's played as cutesy, but the main guy is basically an overly obsessive, creepy stalker and we're supposed to root for him here. It's unaware of its own awkward pervertedness, but still a fun film nonetheless.
Thelma - Big disappointment, especially since I wanted to love it and I was really digging it as a brooding tale of self-discovery amidst oppression for the first 40 minutes or so; the opening scene is particularly great in setting the foreboding stakes, as well as the Hitchcockian opera sequence. However, at a point it just lazily descends into a expository state of explaining her condition. The film's subtext irks me immensely - it almost comes across as a superhero origin story, oblivious to how dangerous Thelma's powers are, instead wanting us to cheer her on. Her deadly actions are played literally, so the film's anti-indoctrination stance is contradicted because that's what was initially keeping her powers in check. I get the allegory here, but, like Raw earlier this year, it simply doesn't work.
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Post by Mattsby on Dec 18, 2017 23:03:35 GMT
Wonder Wheel - Something like a 6.5+ artificial, and uneven and shakily scripted tragedy elevated by a great Winslet and even greater Storaro. Night and the City - Original classic, great Dassin, Widmark is a charismatic wonder - 8.0-8.5 Dassin has an interesting career… prolific in the US until blacklisted, then made films in several languages (French, Greek, Italian, etc). I’ve seen Night and the City (which I love), Rififi, Brute Force. What are your favs of his outside of those? |
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Post by mhynson27 on Dec 19, 2017 0:30:39 GMT
Rogue One: A Star Wars Story (re-watch)
Star Wars: The Force Awakens (re-watch)
Star Wars: The Last Jedi
The Big Sick (re-watch)
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Post by pacinoyes on Dec 19, 2017 1:31:52 GMT
Mattsby - Love all the ones, you listed - Never on Sunday is a whole lot of fun too - when people say they don't make them like that any more, that's what they mean too - it's kind of singular and unique and Naked City is pretty thrilling stuff too, only a little dated, and it was majorly influential. I'd rank Naked City with his very best stuff and most typical noir stuff actually - the direction is sharp and powerful (swooping closes-ups and ominous depth shots, beautifully done), great location feel too.
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Post by Deleted on Dec 20, 2017 2:04:19 GMT
The Disaster Artist- 6.5/10
Pickpocket- 8/10
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What "key points" does Yang intentionally obscure because he's an "arty asshole" (whatever that means)? I remember the story being very straight forward. And if any movie justifies being so long, it's ABSD. It's so beautiful!
