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Real-Life Soundtracks / Re: this is a really good song.
« Last post by KJ on April 14, 2018, 10:06:16 AM »
harriet wheeler

ok, that's enough
Real-Life Soundtracks / Re: this is a really good song.
« Last post by KJ on April 14, 2018, 10:02:29 AM »
sue tompkins

Calling you i mix two numbers up i mix them up
Two numbers calling you i mix them up!
Ting ting
Look around
Just information
In the leaves in the leaves in the leaves
Lgo lgo chi sound chi sound chi sound chi sound
If poss was lying awake invitation guess what
Coast to coast, vivid i'm a visitor here
I'm a visitor here
Don't fall don't fal-ter
Don't fall don't fal-ter
I still believe in getting low i still believe

News and Theory / Re: Who's Next To Croak?
« Last post by KJ on April 14, 2018, 09:12:17 AM »

the loves of a blonde will always be my favorite I think, which also contains one of my favorite stills in cinema ever
Real-Life Soundtracks / Re: this is a really good song.
« Last post by KJ on April 14, 2018, 08:51:44 AM »
that last goddamn song
the tiger is out

it makes me wanna jump around in bed and play air guitar or something idk fuck i need to contain my excitement
Real-Life Soundtracks / Re: this is a really good song.
« Last post by KJ on April 14, 2018, 08:00:16 AM »
hop along's new album is pretty good and frances quinlan continues to have one of the best voices around. as with harriet wheeler and sue tompkins (two other favorite voices of mine) she fronts a band that doesn't do anything original, but has a voice that makes it incredibly special to me. she has a way of spitting out every word as it if was the most important thing in the world. seriously, you can break down any of her vocal performances word for word and realize that she deliver every word perfectly. this isn't just hyperbole. she's that good.

this song isn't from their latest album, but I think it's one of the best song to showcase her voice. just the way she sings "uh-huh, uh-huh" gives me goosebumps, honestly. also, who said indie rock was dead? it's better than ever!

okay, here's a song from their latest album too. "I- I don't know why". OMG.

Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by Bleep on April 14, 2018, 07:51:04 AM »
Please pardon me if someone somewhere has already pointed out the following, but in the past week I watched the two films I mention below and had a "revelation" or two:

1. “You Little So and So” -- Marlene’s second song in Blonde Venus (1932), dir. Josef von Sternberg.

[Josef von Sternberg was, to remind, a -- or "the" -- "Kubrick" of the early days, in a series of ways, so to speak.] [If you haven't seen Shanghai Express (1932), please WATCH IT THIS VERY MOMENT and enjoy the show!]

2. Pin Up Girl (1944), a charming, lighthearted comedy starring Betty Grable. One integral scene involves Betty standing behind a man who is talking to another man about her without knowing that she is in the room and listening. This makes me think that such a conceit is probably a staple of classic comedy movies. [Hence, one more "screwball comedy" element in PT.]

Stay well.
News and Theory / Re: Who's Next To Croak?
« Last post by Lottery on April 14, 2018, 03:02:08 AM »
Xix & Xax / Re: Long-Lost Xixax Members
« Last post by KJ on April 13, 2018, 02:19:35 PM »
but does he like Scorsese?
(sorry, I just read an discussion from 2003, so i'd be impressed if anyone gets this reference)

watched the interview, and enjoyed it. they talked about his short Idiot with a Tripod which you can watch here. I really liked it. made me wanna buy a camera and start making things myself.

"Idiot with a Tripod" was shot, edited and posted online in one day without any expectations. I simply thought it would be cool to shoot the big NYC blizzard on 12/26/10.

Then Roger Ebert fell in love with it.

He championed the short, calling it "Man in a Blizzard," and said it should win an Academy Award.

It went madly viral after that and did over a million hits. It was subsequently named TIME Magazine's #3 Creative Video of 2011.

So all I've got to say is: thanks to everybody who's seen the short and liked it.

This Year In Film / Re: Love, Simon
« Last post by ono on April 13, 2018, 12:09:56 AM »
This was such a joyful uplifting film and something I really needed. It's one of my favorites of the year so far. Going in I didn't think I'd have anything in common with the protagonist and therefore it wouldn't be my cup of tea but then I saw all these good reviews of it and I think the feelings are universal, and that's why it works so well.  I wish I was lucky enough to have friends like these in high school. I think these are very idealized experiences but that's what makes the film work so well too is you want to idealize this time and either relive your own dramas or live vicariously through other people's experiences. The antagonist, if you can call him that, is kind of cringey but I guess it's necessary to push forward the drama of the film. I wish I could get around that. Had a big crush on the brunette female lead. She's gorgeous and will probably go on to do much bigger things. Actually the black girl is gorgeous as well. The whole cast was I guess you could say, which is to be expected of a Hollywood type film, come to think of it. Tony Hale's vice principal was really funny, except for the final cringe-worthy scene in his office which kind of missed the mark but I guess that might have been the point.
This Year In Film / Re: You Were Never Really Here
« Last post by raptoroblivion on April 12, 2018, 09:56:39 PM »
You Were Never Really Here, so far, is my favorite film of the year. Interesting comparisons to Taxi Driver: a film I consider terrible. Ramsay accomplishes in only 90 minutes what Scorsese fails to do in almost 2 hours. Many people walk away from Taxi Driver thinking Travis Bickle is cool; regardless of whether or not this is Scorsese's intention, it is an observable result of the film. Scarcely any could walk away from YWNRH and feel the same way about Joe or what he does in the film. The effects of violence are so honestly shown: this is the heartbreak of the film's few final scenes.

Interested in what others consider cliche in the film, as I found it fairly subversive of cliche. Perhaps it's subversions themselves were cliche? I could see how one would view perhaps the use of upbeat music during dark/violent scenes as a cliche, but I feel Ramsay uses this music only diegetically in scenarios where characters are using this innocent/happy music to cloud their dark acts as a defense/coping mechanism --  a conscious form of dissociation, if you will.
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