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The Small Screen / Re: Forever
« Last post by Sleepless on October 11, 2018, 03:48:29 PM »
Definitely some interesting ideas, but after the repeated, let's say, clean slates of the first two episodes, it loses a lot of momentum and even though it *feels* like the creators have an idea of the larger world they've created and what they want to say, it stalls out with little development by the end of ep 3. Ep6 is a interesting bottle ep though.

Edit: Reading the Collider article about Maniac and Netflix's prevalent issue of bloat/lack of pace seems relevant here. Obviously it's a problem not just in Netflix/streaming, because it's something Walking Dead suffered from years ago too.
The Small Screen / Re: Forever
« Last post by eward on October 11, 2018, 03:02:02 PM »
Ha, that was rather anti-climactic. Your first post made it seem so promising.
The Grapevine / The Other Side of the Wind
« Last post by eward on October 11, 2018, 02:43:44 PM »
EDIT: Whoops! Forgot this thread existed....anyhow


At long last, after years of hearing/reading/dreaming about this film, never believing it would actually see the light of day, yesterday afternoon I had the good fortune to finally, finally see it, on the 33rd anniversary of Welles’ passing, at the Francesca Beale Theater at Lincoln Center, on a brand new 35mm print that had only been screened once before. (God Bless The NYFF). And though it could never truly live up to the hype that had been steadily building in my mind over the years, especially since having read the excellent Josh Karp book about its making, I was very pleased to find myself mostly thoroughly engaged throughout its entire 2 hour runtime. It's remarkably coherent, when one considers it was edited down intermittently from 100 hours of footage over 40-odd years fraught with litigation and one outlandish setback after another. Extremely frenetic, jumping around from color to black and white, 16mm to 35mm, at a pretty consistent breakneck pace across 3 or 4 major set-pieces and a movie-within-the-movie, it's much more in line tonally/aesthetically with something like "F For Fake" as opposed to Welles' better-known works. Though this merely represents a painstaking attempt at approximating Welles' original vision, assembled with the guidance of copious volumes of written material and half-edited scenes, this stands as not only a wild and fascinating self-portrait by one of our greatest film artists (starring another one of our greatest film artists), but also a loving and triumphant tribute to a giant of our times from a younger generation of admirers/colleagues; and, in the case of Bogdanovich, a close personal friend (Welles himself had asked Bogdanovich, in the months leading up to his death in 1985, to see to it personally that the film got finished, were anything to happen to him. And lo and behold, after all this time, he delivered. Hard not to well-up at that.)

Long Live Orson.
The Small Screen / Re: Forever
« Last post by Sleepless on October 11, 2018, 02:28:17 PM »
Meh. The second episode is definitely the highlight. Episode 6 is a standout too. Overall, though, this really isn't that great. No great mystery to solve, and I didn't feel myself really caring about the characters. More just kept watching because I felt obligated. It's only 8 episodes, not a huge commitment, right? It just felt like the creators weren't really sure where they wanted to go with this. Yet there's the distinct promise of potential more. And I'll be honest, I'm curious... But I'm not looking forward to it. Feel free to move both these posts to What shows are you watching?
This Year In Film / Re: Private Life
« Last post by pete on October 11, 2018, 01:24:47 PM »
this film is perfectly made. watched this with friends after Maniac left us all with a bad taste. It totally worked.
This Year In Film / Private Life
« Last post by eward on October 11, 2018, 12:57:47 PM »

Written and Directed by Tamara Jenkins

Starring Kathryn Hahn, Paul Giamatti, Kayli Carter, Molly Shannon, John Carroll Lynch

The new film from Academy Award-nominated filmmaker Tamara Jenkins (The Savages, Slums of Beverly Hills), PRIVATE LIFE is the bracingly funny and moving story of Richard (Academy Award-nominee Paul Giamatti) and Rachel (Kathryn Hahn), a couple in the throes of infertility who try to maintain their marriage as they descend deeper and deeper into the insular world of assisted reproduction and domestic adoption. After the emotional and economic upheaval of in vitro fertilization, they're at the end of their middle-aged rope, but when Sadie (breakout newcomer Kayli Carter), a recent college drop out, re-enters their life, things begin to look up.

Didn't have a chance to catch this at NYFF so I checked it out on Netflix last evening. Really, really loved this. Jenkins' films have a lovely and tender way of interweaving moments of broad-but-not-too-broad hilarity with moments steeped in genuine despair, without ever feeling overtly maudlin. Her films are tough, yet hopeful. Her characters all feel very lived-in and sometimes unnervingly relatable, despite registering perhaps at first glance as ostensibly privileged "types". The cast, of course, is reliably excellent, but Molly Shannon in particular really surprises here.

Highly recommended!

The Grapevine / Re: Burning
« Last post by Drenk on October 11, 2018, 12:34:47 PM »
I wonder what Xixax will think of this movie. It's so pointlessly long, not about much than its own pointless boredom.

Steven Yeun is amazing.
The Grapevine / Burning
« Last post by wilder on October 11, 2018, 12:30:16 PM »

Expanded from Haruki Murakami’s short story “Barn Burning,” the sixth feature from Korean master Lee Chang-dong, known best in the U.S. for such searing, emotional dramas as Secret Sunshine (NYFF45) and Poetry (NYFF48), begins by tracing a romantic triangle of sorts: Jongsu (Yoo Ah-in), an aspiring writer, becomes involved with a woman he knew from childhood, Haemi (Jun Jong-seo), who is about to embark on a trip to Africa. She returns some weeks later with a fellow Korean, the Gatsby-esque Ben (Steven Yeun), who has a mysterious source of income and a very unusual hobby. A tense, haunting multiple-character study, the film accumulates a series of unanswered questions and unspoken motivations to conjure a totalizing mood of uncertainty and quietly bends the contours of the thriller genre to brilliant effect.

Directed by Lee Chang-dong
Release Date - October 26, 2018
Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by Gold Trumpet on October 11, 2018, 10:20:04 AM »
None of us really know the details about what is going on, but this could definitely hit PTA's next film. Especially with Vice coming out soon and that needing to make a decent haul. There's always more fallout to these things. That being said, a likely project starring Tiffany Haddish will get picked up by some studio. The possible 1930s LA backdrop may make it more expensive though.
The Small Screen / Re: Maniac
« Last post by pete on October 10, 2018, 11:06:02 PM »
I also just thought Jonah Hill made some really bad acting choices. He's one of my favorite actors but in this he's trying to do a Jim Carrey and it's just not acting.
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