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The Grapevine / No Stone Unturned - Alex Gibney Documentary
« Last post by wilder on Today at 02:54:30 PM »


Alex Gibney attempts to uncover the dark truth behind a 20-year-old pub massacre during a World Cup viewing in Northern Ireland. Though investigators described the crime scene as a ‘forensic goldmine,’ no one was ever arrested for the murders. Employing the methodology of a forensics expert, the instincts of a bloodhound and a constant sense of forward momentum…Gibney creates a tour de force of investigative journalism and cinematic realism out of a real-life mystery, and tragedy — about neighbors murdering neighbors, a government betraying its people, and the survivors living with the ever-present fear that the person next to them on the grocery line might the killer of their father, husband or brother.

Directed by Alex Gibney
Release Date - Opens at the Quad Theater in New York on November 10th, followed by the Laemmle’s Monica Film Center in Los Angeles on November 17th
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Xix & Xax / Re: the marquee
« Last post by KJ on Today at 01:40:22 PM »
What is "Like a conversation between me, god, xixax, and humanity" taken from? Because I want to read that conversation.
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The Grapevine / Re: Annihilation
« Last post by KJ on Today at 01:33:01 PM »
Well, I'm intrigued. Ex Machina was my probably my favorite film of 2014.

No, I take that back. I checked and 2014 was a fucking great year for film:

https://rateyourmusic.com/films/chart?year=2014v
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Paul Thomas Anderson / Re: Phantom Thread
« Last post by wilder on Today at 01:20:57 PM »
If memory serves, I don’t think the IV script was available until it was uploaded officially for awards consideration.

Edit - Yeah. February 2015
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Real-Life Soundtracks / Re: Favorite Music Videos
« Last post by KJ on Today at 12:54:37 PM »
This is fun if you know Ariel Pink is:

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Paul Thomas Anderson / Re: Phantom Thread
« Last post by KJ on Today at 12:49:49 PM »
Did the inherent vice script leak beforehand? Or is this the first PTA script since PDL that hasn't leaked?
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The Grapevine / I Love You, Daddy
« Last post by wilder on Today at 12:41:06 PM »


Follows Glen Topher, played by Louis C.K., a successful television producer and writer, and his daughter China.

Written and Directed by Louis CK
Starring Louis CK, Chloe Grace Moretz, Rose Byrne, Helen Hunt, Pamela Adlon, and Charlie Day
Release Date - November 17, 2017
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The Grapevine / Re: The Square
« Last post by jenkins on Today at 10:42:09 AM »
And when one doesn’t believe in the point, and there’s no ambiguity or mystery, the scene just ends up empty. This was sadly indicative of many scenes in the film: simple symbols or message hammered home.

this is how it works, isn't it? this is the relationship that develops between the movie and the viewer. you know, in movie land this is called, what, suspension of disbelief. and sometimes that shit can't be suspended, i feel ya. i'm wondering if the structure here was more parabolic than cohesive, but honestly sometimes i get worn down trying to say "let's look at this way instead" and etc.

today i'm not in the mood to defend this movie i haven't seen. i enjoyed your post Just Withnail.
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The Small Screen / Re: Mindhunter
« Last post by diggler on Today at 09:27:46 AM »
The girlfriend stuff really puts the brakes on the show, to the point where I'm not sure what the point of her is. The minor characters are what make this. From the small town cops to Kemper, there are some great character actors chewing scenery. That's when the show is it's most riveting.

The "we can do both" in regards to solving murders as well as researching murderers sounds like the show declaring it needs to be more engaging. Are these guys investigators or researchers? The narrative feels a need to insert these guys into cases but the scenes like the ones with Kemper are interesting enough for me. It also looks fantastic.
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The Grapevine / Re: The Square
« Last post by Just Withnail on Today at 09:19:34 AM »
After loving pretty much every film Ruben has done, short or long, it pains me to say that this didn’t work for me at all. It seems to go for a mix of the intensely focused character assasination of Force Majeure and the stand-alone episodic form of his earlier films, but ending up just muddled.

It goes in way too many different directions, seemingly wishing to make a kind of cosmology of art world hypocrisy, but at the same time every single scene seems to communicate the same small sliver of capital T Themes, and it all rather ends up feeling reductive rather than expansive. It’s meanings seem set from frame one.

Östlund has always been great at delving deep into situations, but here the situations take over so much that the whole fell apart. Elisabeth Moss’ character almost seems to be completely different people from scene to scene. That excellent scene with her that they used as a promotional clip, that got me so excited for the film, completely lost it’s power in the context of the rest of it.


SMALL SPOILERS


Ditto with the monkey-actor scene. The film is extremely unsubtle in making it’s points about human behavior. Östlund mentioned in the Q&A after the film that his film is partly about the lack of responsibility being taken in public spaces, and in this scene, the point is made by everyone eventually just succumbing to the monkey-man’s behavior and bowing their heads in submission as he goes on being outrageous and eventually harrasses a woman. Only after the harrasment has gone on for a ridiculous amount of time does one man try to stop him, at which point a bunch of other people also dare to intervene. This all seems to me to be either cheap symbolism or completely unbelievable behavior. The whole scene seems to me to be constructed only to make this simple point, in an overly obvious way. And when one doesn’t believe in the point, and there’s no ambiguity or mystery, the scene just ends up empty. This was sadly indicative of many scenes in the film: simple symbols or message hammered home.
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