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51
This Year In Film / Re: Revenge
« Last post by Jeremy Blackman on October 12, 2018, 06:03:08 PM »
This is apparently on sale for $5 on iTunes, part of their "new filmmakers" sale.
52
The Grapevine / Re: High Life
« Last post by eward on October 12, 2018, 03:28:29 PM »
I cannot wait for this. It screened at NYFF and I couldn't make it and for that, I am sad.
53
News and Theory / Re: Westerns nowadays
« Last post by jenkins on October 12, 2018, 02:45:25 PM »
nice. glad to hear this. i think he holds so well too. a lot of b movie stuff lacks the pizzaz of a movie stuff, but all that matters anyway is grace. he's a fine example.

i also recommend Bullfighter and the Lady
54
The Grapevine / High Life
« Last post by jenkins on October 12, 2018, 02:42:04 PM »




7 November 2018 (France)
55
Paul Thomas Anderson / Re: Other actors/directors/etc. who mention PTA
« Last post by jenkins on October 12, 2018, 02:39:11 PM »
Sissy Spacek Reveals Paul Thomas Anderson Convinced Her To Star In Andy Samberg’s ‘Hot Rod’

Quote
“My husband, Jack, had worked on ‘There Will Be Blood’ with Paul Thomas Anderson, and Paul called him to say, ‘This is not a film that Sissy would ordinarily do, but they want to offer it to you, and they know you’ll never see the script unless we get to you. These guys are great — you should do it.’ And when Paul Thomas Anderson talks, you listen! So that’s why I did it, and now I’m friends with all these young, cool guys with crazy names like Akiva, Jorma, and Andy,” reveals Spacek.
56
The Grapevine / Re: the house that jack built
« Last post by eward on October 12, 2018, 01:13:41 PM »
Kinda how I feel about Nymphomaniac. And the trailer makes the whole thing seem stylistically very much in that vein. It's kind of a shame - pre-Nymphomaniac, von Trier was really on a roll. He'd likely blame sobriety.
57
News and Theory / Re: Westerns nowadays
« Last post by Just Withnail on October 12, 2018, 05:31:55 AM »
I was binging on Budd Boetticher's Ranown-cycle a few weeks ago (so easy, as they're all around the divine length of 80 mins). What a master of profound brevity. The emotions of his films always sneak up on you suddenly. I want to sit around a campfire and drink coffee with Randolph Scott. Not say anything.

This interview with philosopher Robert B. Pippin goes into considerable detail about the western and how they dramatize the creation of law from the wilderness, as mention in th Kehr video. He wrote a book on it too:



58
The Grapevine / Re: Climax
« Last post by Just Withnail on October 12, 2018, 04:33:23 AM »
The first part was really good, I agree. A lot of really suprising choices, whereas the second part strangely became a little one-note, when it's usually in the chaos-parts where Noé really shines. The film felt much less like a gradual descent, as I'd expected, and more like a hard contrasting between the two parts, between extreme bodily movement in the ecstatic dance sequences of the first half, and then in the extreme bodily mutilation of the last half. Some political elements both manage to feel like they're just thrown in there, and unexplored, but still be strangely resonant.
59
This Year In Film / Re: Mandy
« Last post by Just Withnail on October 12, 2018, 04:17:49 AM »
I had a blast with this - especially the completely bonkers last half.

As the film is starting to pivot into the revenge part, there's this amazing scene where it literally gives Cage a stage to build up his rage freely for a few moments. We see him strolling back and forth in a bathroom in an extended take that is really just there to tell the audience "here it comes", and you get an unobstructed view of Cage pumping up the rage. This film really knows what it is.

It was also of course terribly exciting seeing a close friend doing work as amazing as this, and extremely inspiring.
60
The Grapevine / Re: the house that jack built
« Last post by Just Withnail on October 12, 2018, 03:47:53 AM »
I had a hard time with this, not really because of any of the supposedly shocking things (that are really only shocking in the context of an arthouse film), but mostly I was just bored. 80% of the film was pretty blandly constructed thriller scenes amounting to little more than "how will he do it this time?". It's at it's best when it's funny (and it's occasionally hilarious) and baroque, but mostly it consists of pretty worn out serial killer tropes. The contextualizing of these do add something, but not enough, I feel.

The film is basically a big confession from von Trier, "this is who I am and there's worth in portraying it". But it adds little new that he hasn't already shown in the other films, except pushing his imagery to new bombastic/pompous/ridiculous/funny heights towards the end, and a feeling that wanting to shock is really a compulsion for him. This both worked for the film (when the compulsion is so blatant it's just funny) and against it (when it wasn't bombastic enough to be interesting and ended up being merely trope'y).

At it's best it's von Trier at his best, at it's worst it's just boring.
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