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21
News and Theory / Re: Cannes
« Last post by wilder on April 27, 2017, 04:11:15 PM »
Ruben Östlund’s ‘The Square’ & Roman Polanski’s ‘Based On A True Story’ Join Cannes Line-Up
via The Playlist

When the Cannes line-up was announced a few weeks back, Thierry Frémaux hinted, as is often the case, that a few slots remained to be filled in the line-up. And news has just dropped as to exactly what those films are. The only addition to the Competition selection (which may indicate that there are still one or two more to come) is “The Square,” the latest from Ruben Östlund, director of the brilliant “Force Majeure.” The film, which revolves around a piece of public performance art, is at least partly in English, and stars the great Elisabeth Moss (who’ll be doing the Cannes double with Jane Campion’s “Top Of The Lake: China Girl”) and Dominic West, and instantly becomes one of the most anticipated of the festival. It marks a promotion for Östlund, whose last film was in the Un Certain Regard section.

Out of competition will be “Based On A True Story,” the latest from veteran director (and convicted sex criminal) Roman Polanski, which stars Eva Green and Polanski’s wife Emmanuelle Seigner — the film’s a psychological thriller of some kind. Meanwhile, “River Road” director Li Ruijun joins the Un Certain Regard line-up with “Walking Past The Future,” as will Argentinean director Santiago Mitre (who won Critics’ Week in 2015 with “Paulina”) with “The Summit” starring Ricardo Darín and Christian Slater; while a new documentary by Barbet Schroeder, “The Venerable W,” looking at Islamophobia in Burma, will get a Special Screening.

Actor-director Eric Caravaca will also get a special screening of his second feature, entitled “Carre 35;” while animated family comedy “Zombillenium,” an adaptation of a French comic book, will be a “Children’s Screening.”
22
The Small Screen / Re: The Leftovers
« Last post by Jeremy Blackman on April 27, 2017, 11:43:02 AM »
Excellent! I'm happy to report that Season 3 feels pretty much just like Season 2.

I mostly agree about Season 1. Jill's skeezy friend was the worst. The Guilty Remnant were absolutely maddening... Obviously they were supposed to be, and the magnitude of their annoyingness is necessary to set up the season finale and beyond. But the actual viewing experience of Season 1 is somewhat sacrificed for that purpose. When I recommend this show to people, I still have to warn them about Season 1. "Some characters are really annoying, but they're supposed to be, trust me."
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Paul Thomas Anderson / Re: HAIM - "Right Now"
« Last post by modage on April 27, 2017, 10:37:44 AM »


HAIM says:
"The whole story of how this video came about is kind of a crazy story. My mom was studying to be a teacher and to get your credential as a teacher you have to shadow another teacher and get your hours in. My mom gets a gig teaching credential gig at a school in the Valley. First twist: My mom is shadowing the teacher at the school. First week, the teacher has a heart attack in the in the parking lot of the school and my mom becomes the sole art teacher at this school. In one week. My mom was younger than me, like 22/23, and she now has 5 or 6 classes of kids that she now is the teacher for. She would always talk about this one kid named Paul. That she loved this kid Paul, he was very energetic, artistic, vivacious. We'd turn the TV on and Boogie Nights would come on or Magnolia and our mom was like, 'oh that’s Paul’s movie.' That being Paul Thomas Anderson. We were like, Mom are you talking about Paul Thomas Anderson? And she was like, 'Yes that is Paul, I taught Paul.' And so we were like, 'Okay mom.'

So now we're flashing forward to 2015, and we get a call from the most amazing person Asa at Electric Guest and he was like, 'So, um something crazy happened last night. I was at a party and I ran into Paul Thomas Anderson. And we were rapping about music and what we were listening to and Paul was like, 'I'm really digging this band, they're 3 sisters, they're from the Valley, they're repping the 818,' and Asa was like, 'Haim?' and he was like "Yes, Haim!' And Asa was like, I've known them since I was 15. And Paul was like 'Will you give them my email?' And Asa called us and was like Paul Thomas Anderson wants you to have his email. And we were like 'Ohmygosh, are you sure we're the right band? When he said Haim was he meaning Corey Haim or was he meaning someone else like 3 sisters from somewhere else? I dont know.' And Asa was like, 'No, he means you.'

So we got his email. We emailed him instantly. The email was like 'Yo, can we like hang out in the valley sometime? Henry's tacos... Dupars, every Valley-ism that I could pull out of my ass. [We looked at the email like a day before we hit send.] So he emailed us back and was like 'Let's get dinner.' And we're like [freaking out] 'Okay!' This was the tail end of Days Are Gone. And we both were uberfans of each other and we were like 'Okay, we're gonna go to Paul's house. We're gonna have dinner. Let's not mention mom because what if he didn't like mom? What if mom was an awful teacher? So we go to his house and we're so nervous that in the first three seconds, we're like 'Hey! Word vomit! My mom taught you back in the day!' And he was like 'What?' And we were like 'My mom was an art teacher" and he was like, 'Mrs. Rose?' He said Mrs. Rose! And we were like 'Yes that's our mom!' And he's like 'Hold on a second.' So he leaves, comes back with a painting of the mountain from Close Encounters of the Third Kind, and he was like 'I painted this with your mom, I've kept it all this time, all these years, and I keep it in my son's room.' And we were like 'Ohmigosh' so that was the first connection.

At that point we were at the very tail end of Days Are Gone. And we were like trying to get things together, we didn't know what we could do. So we were just like 'You know what? Let's table this, let's just be homies.' So now flash forward to now. A couple months ago we were putting together our record, we had this chunk of songs, and we were thinking 'who do we trust and respect?' we want to show this music to someone. And Paul just kinda popped in our heads, so we emailed him and were like 'Hey we have this chunk of songs, we wanna show you them, we wanna get your opinion' and he instantly emailed back like 'Date and time? Place? Tell me.' And so he came to the studio the next day and we showed him the songs, and we were listening to it and he was like 'Why don't we just shoot this? You guys are in the studio, let's just shoot this.' And we were like '[whispers]... Genius Paul.'

So a couple of weeks later he came to the studio with his amazing crew and just like a fly on the wall just filmed us, everything on film, everything live to tape, and the best thing about it is when we shot this thing, the song kind of evolved from there. Where we were with the song to that point, it kinda evolved from that point, that was kinda like our starting point. So that was a very special moment for him to shoot because everything changed. We were initially tracking it. And I think what happened was we loved how it sounded, so we kinda just added from there. The recorded version that will come out with the album really is not that different so you really see the making of our record, and that was kinda why we wanted to start with this piece.

I think it's really hard to get what's in your mind onto tape. And it's really interesting to see Paul's process, the way he shot it. I mean we were just in the room, you could hear a lot of the room actually, which I really like about the recording, you can really hear the room. The room mics were really loud and you can hear our stomping around. And Paul really was like 'I wanna hear Alana click on her pedal' and you can hear that click when she does it, and you can hear our heels and we were like wow, this is crazy, I can't believe we pulled this off in a day. We had a day, one day. Paul had one day before he was going to go and film a movie. He was like 'I literally have one day, I have 10 hours.'"

Haim hints that they recorded more than just this one song so we'll probably be seeing some more of these studio vids over the next few months.

Filmed on location at Valentine Recording Studios, North Hollywood, CA
November 3, 2016
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The Small Screen / Re: The Leftovers
« Last post by modage on April 27, 2017, 09:41:33 AM »
I'm behind but just barely. I watched Season 1 when it was on and was rooting for Lindelof but found it kind of a slog to get through. I mostly hated the characters (save Nora and Jill) and thought it had the same kind of 'trying-too-hard' thing that Breaking Bad S1 had where something was not quite gelling naturally yet between the writing/performances/production. So when Season 2 came on I skipped out on it, even as the glowing reviews pilled up, I still thought 'I'm not sure I have any interest in going back into that world or how much they can even salvage that I would be interested in, quasi-reboot or no.' But I was wrong.

I finally watched Season 2 this week and just fucking loved it. This is the show I wanted Lindelof to make post-LOST but felt like he was afraid to make in Season 1. Like he was trying to run from some of his storytelling instincts for fear of finding himself in another LOST-like situation, but in 2 he lightened up a bit, let some of the weirdness in and figured out just how to play each instrument in the cast just right. Characters I hated were minimized or reconfigured, others like Kevin who were kind of a blank to me in Season 1 were filled out here. I loved the song choices to end the episodes, some of the dark irony of I Am A Rock, the naked emotionalism of the karaoke moment, the twist with the girls, how they brought the Guilty Remnant back into the story, everything. I'm not at all a religious person but the way the show handles questions of faith and how these things get started, how prophets and false ones are made, if there is a God at all, is fascinating and unlike S1 which felt heavyhanded and just, heavy at times, it's now playful but still totally committed.

If I had watched it last year it would've probably been my favorite show of that year. Super excited to join in on Season 3.
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I'm not sure if I believe it, but I guess it's possible. I just still doubt PTA would go down the beholden to real life route.
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The imdb page has been updated with new cast and plot line added.  Looks like it is about Charles James after all.

http://www.imdb.com/title/tt5776858/?ref_=nm_flmg_dr_1
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The 2017 Xixax Awards / Re: Most Disappointing Film
« Last post by polkablues on April 26, 2017, 09:29:56 PM »
Okay, so my memory lied to me. Those are legit victories.
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The 2017 Xixax Awards / Re: Most Disappointing Film
« Last post by Lottery on April 26, 2017, 07:29:04 PM »
I watched BVS like a (couple of?) month or so ago. Easily the worst movie I've seen in a long time. Truly awful.

Yeah, every year I expect this category to garner an interesting result and every year, fittingly I suppose, I'm disappointed.

Weakest year so far for the category, yeah, but the other years make sense.
2016, Brad Bird had a perfect record up until Tomorrowland.
2015 with Nymphomaniac is an interesting choice.
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The Grapevine / Re: The Other Side of Hope
« Last post by wilder on April 26, 2017, 05:54:38 PM »
UK Blu-ray on July 24th
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