Recent Posts

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Finally the full press conference of Punch Drunk Love at Cannes is online! Enjoy ;)

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The 2017 Xixax Awards / Re: Best TV Performance
« Last post by Jeremy Blackman on April 25, 2017, 02:57:17 PM »
VOTING IS CLOSED.

The winner is Laurie Metcalf in Horace and Pete!
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The Small Screen / Re: Better Call Saul
« Last post by Jeremy Blackman on April 25, 2017, 02:29:56 PM »
I haven't seen last night's ep yet, but I assume the Jimmy and Mike stories are going to dovetail beautifully at some point. Because otherwise, yeah...
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The Small Screen / Re: Better Call Saul
« Last post by Fuzzy Dunlop on April 25, 2017, 02:29:13 PM »
The Mike part of this show is taking too much place this season. It's kind of breaking the show...

Breaking good or bad?
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The Small Screen / Re: Better Call Saul
« Last post by Drenk on April 25, 2017, 01:40:26 PM »
The Mike part of this show is taking too much place this season. It's kind of breaking the show...
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This Year In Film / Re: A Ghost Story
« Last post by RegularKarate on April 25, 2017, 09:15:12 AM »
his acclaimed debut feature Ain’t Them Bodies Saints

When will they learn?
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This Year In Film / Re: A Ghost Story
« Last post by Shughes on April 25, 2017, 07:09:12 AM »
From lwlies.com:

A Ghost Story to close Sundance Film Festival: London 2017

David Lowery’s haunting drama is among the highlights of this year’s programme.

Returning to the UK capital for its fifth edition, the 2017 Sundance London Film Festival boasts an impressive programme of features and shorts mostly culled from its parent festival in Park City, Utah.

This year’s festival will open with the international premiere of Miguel Arteta’s Beatriz at Dinner, and will close four days later with the UK premiere of David Lowery’s A Ghost Story, starring Casey Affleck and Rooney Mara. In our first look review we describe the film as a “quietly haunting tale of loss and redemption”.

Lowery will be attending the festival to take part in a special ‘In Conversation’ event, where his acclaimed debut feature Ain’t Them Bodies Saints will also screen.

Elsewhere there’s UK premieres for Marianna Palka’s Bitch, Jeff Orlowski’s Chasing Coral, Craig Johnson’s Wilson, adapted from Daniel Clowes’ graphic novel, and for the first time festivalgoers will be treated to a Surprise Film.

Sundance Film Festival: London takes place 1-4 June at Picturehouse Central. Check out the full programme here.

(Original article http://lwlies.com/festivals/sundance-london-film-festival-2017-a-ghost-story/.)


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DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on April 25, 2017, 05:08:47 AM »
July 24, 2017

Rainer Werner Fassbinder’s Eight Hours Don’t Make a Day (1972-1973) on limited edition blu-ray from Arrow UK. Also contains the new documentary Fassbinder (2015).



Rainer Werner Fassbinder had been making feature films for three years – and already amassed a filmography that would satisfy most careers – when he decided to take on a bigger challenge. Teaming up with West German television channel WDR, he conceived of Eight Hours Don’t Make a Day, a series that would extend to five feature-length episodes to be broadcast at monthly intervals.

Centring on the Krüger family, as well as their lovers, in-laws, friends and co-workers, the series takes a sometimes comic, sometimes dramatic look at domestic relationships and labour relationships, with particular focus on skilled worker Jochen (Gottfried John, Berlin Alexanderplatz, Goldeneye) and his new girlfriend, Marion (Hanna Schygulla, The Marriage of Maria Braun).

Reminiscent of working-class soap operas such as Coronation Street and the family-based sitcoms of Carla Lane, Eight Hours Don’t Make a Day has been a one of the more difficult to find entries of Fassbinder’s extraordinarily prolific output, but is now presented here in full and newly restored by the Fassbinder Foundation.


Eight Hours Don’t Make A Day - Arrow UK










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Other Media / Re: misc book thread
« Last post by jenkins on April 25, 2017, 01:54:55 AM »


this one gets filed in 'humor' btw. when i see other people on other message boards i wonder about their post count and level of commitment. as far as i can tell, we're a rather humdrum internet collective, in terms of how fucking weird and intense the internet can become. i won't read this book but it made me think of this place and what i mean is i already lived it.
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The Small Screen / Re: The Leftovers
« Last post by Jeremy Blackman on April 24, 2017, 09:56:54 PM »
SPOILERS

The episode at first really threw me off. There was not a discernible forward-moving plot trajectory, and I was getting antsy because we're approaching the end. Nora's journey seemed like a side quest. And the story felt utterly conventional.

Then, at 22 minutes, when Mark Linn-Baker begins his pitch — "okay, there are a couple types of radiation" — I was fully on board. I expect my expectations to be upended, and that was certainly happening. I then had absolutely no idea what was going to happen from one minute to the next.

I am very strongly reminded of Lost episode 601 ("LAX"), which mercilessly trolls the audience in such a beautiful way — sly but also heartfelt.

The scene were Nora walks in on Kevin (46:40) is pure magic. One of the best scenes of the whole series. Carrie Coon's performance there is truly next-level. I didn't even realize I was crying until that scene was over because I was so utterly captured.

Australian Kevin is... interesting. When he hit the kangaroo, I felt strong parallels with Kevin and the dogs in season 1 ("they're not our roos anymore") and Laurie and the Guilty Remnant in season 2.

They did go a bit over the top with his characterization, though. We're supposed to hate him enough that we don't feel too bad when he dies. I would have been okay with most of that, but I think it crosses a line when he throws the keys. Really puts a button on it. A strange bit of lazy writing that felt out of place in this show.

Thankfully I loved what came next with the four horsewomen of the apocalypse. To your question, Drenk, this is my guess: Kevin's dad has been in communication with Kevin's apostles, and I'm sure they've shared an electronic version of the book. As Mark Linn-Baker told us, everything important is out there in the cloud.

I'm thinking about this mobile radiation unit that Nora is going to "investigate" in Australia, and I can't help but think of the last few episodes of Lost Season 6. There are actually two possible reference points: the electromagnetic energy in "the heart of the island" or the machine that Widmore uses on Desmond, blasting him with said energy. In both cases, it's an experience that no normal human being can possibly survive, but Desmond does, because of his unique properties. What if this radiation unit leads to a similar scenario? Kevin, after all, has some unique properties of his own.
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