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DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on October 15, 2017, 03:41:05 PM »
January 23, 2018

Woody Allen’s Husbands & Wives (1992) on blu-ray from Twilight Time

Gabe (Woody Allen) and his wife, Judy (Mia Farrow), are shocked to discover that their best friends, Sally (Judy Davis) and Jack (Sydney Pollack), are splitting up. Not only did they not see the breakup coming, but it makes them start to question their own relationship. While Gabe flirts with the idea of dating one of his college students (Juliette Lewis), Sally and Jack discover that being single again isn't all its cracked up to be and contemplate getting back together.

January 23, 2018

Paul Mazursky’s Bob & Carol & Ted & Alice (1969) on blu-ray from Twilight Time

After returning to Los Angeles from a group therapy session, documentary filmmaker Bob Sanders (Robert Culp) and his wife, Carol (Natalie Wood), find themselves becoming vigilante couples counselors, offering unsolicited advice to their best friends, Ted (Elliott Gould) and Alice Henderson (Dyan Cannon). Not wanting to be rude, the Hendersons play along, but some latent sexual tension among the four soon comes bubbling to the surface, and long-buried desires don't stay buried for long.

January 23, 2018

Joseph L. Mankiewicz's Dragonwyck (1946) on blu-ray from Twilight Time

For Miranda Wells (Gene Tierney), moving to New York to live in Dragonwyck Manor with her rich cousin, Nicholas (Vincent Price), seems like a dream. However, the situation gradually becomes nightmarish. She observes Nicholas' troubled relationship with his tenant farmers, as well as with his daughter (Connie Marshall), to whom Miranda serves as governess. Her relationship with Nicholas intensifies after his wife dies, but his mental imbalance threatens any hope of happiness.

November 27, 2017

Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980) on blu-ray from Second Sight (UK) in the original 25fps broadcast format. Also includes the new feature-length documentary Fassbinder: To Love Without Demands (2015)

In late-1920s Berlin, Franz Biberkopf is released from prison and vows to go straight; however he soon finds himself embroiled in the city's criminal underworld.

Berlin Alexanderplatz (1980) - Amazon UK
The Director's Chair / Re: Béla Tarr
« Last post by jenkins on October 15, 2017, 03:30:36 PM »
it's disappointing me that i haven't seen all of his movies, i fully blame distribution channels. along an internet path today i bumped into the ending of his Almanac of Fall

This Year In Film / Re: The Meyerowitz Stories
« Last post by Drenk on October 15, 2017, 02:20:33 PM »
A good movie.
This Year In Film / The Meyerowitz Stories
« Last post by wilberfan on October 15, 2017, 01:06:28 PM »
I found watching this quite unbearable.  I was out 40 minutes in.

What am I missing??
This Year In Film / Re: The Florida Project
« Last post by modage on October 15, 2017, 12:08:58 PM »
I did not care for this movie.
This Year In Film / Re: The Florida Project
« Last post by jenkins on October 15, 2017, 02:34:19 AM »
well the mother was very much in the foreground by the end, and that's why i was able to feel her Fuck You, when she yelled that. it's the most believable reason for yelling Fuck You i've ever heard, as i said. to reach that point i simply had to be inside that character, and i for one appreciate the narrative textures which brought me there. for example the burping contest. was that the beginning of story transition? the to-go food, which was left in a parking lot and the daughter asked "Why?" the perfume off with the security guard! "You're not a cop!" bags busted open, picking up belongings from the ground before running. i did not know what she could do to pay her rent, that i can tell you. and you'd have to show me a movie that better developed this type of character, feeling attached to life instead of story. Maurice Pialat didn't make this movie and he's the only one i know who couldda done it. then the most romantic smoking at night shots i've ever seen, which won't be able to fit into a discussion of the larger stories, since they were pauses for the characters (mother and Dafoe) as much as they were narrative pauses. yet so within these specific characters! that's a tiny little life moment, this movie brims with such moments. i believe this movie has an interior strength that mirrors its complex characters.

now i wish to accept everything that will be said and feelings other people have, believing to have established my belief that this movie was a goddamn force of nature.
This Year In Film / Re: The Florida Project
« Last post by BigSock on October 14, 2017, 11:25:54 PM »
I totally agree the scenes focused strictly on the children burst with magic and joy, which is why I wish it refrained from spending attention on the mother character

I think those scenes would have played better had they occurred in the background and not directly addressed (as when the mother and daughter are taking photos as opposed to the scene with the mother and her friend in the pool explicitly discussing meeting with the men)
The Small Screen / Re: Nathan for You
« Last post by Jeremy Blackman on October 14, 2017, 10:06:40 PM »
First episode is good. The second and third episodes are GREAT. I completely lost it at the charity event (you'll see).

Also I feel like this show is fully and completely unethical right now. It bothers me a little, but it might be a worthy sacrifice for art.
This Year In Film / Re: The Florida Project
« Last post by jenkins on October 14, 2017, 05:00:58 PM »
rather i think a friendship arc was introduced at the beginning, through the children. where the other girl lived--was it Wonder Land? the washing of the car! then when the boy was forced to leave from the friendship--his face gazing out the window. these mechanisms exist outside the adult world mechanisms, which are integrated alongside later, toward the the film's narrative crescendo. as every crescendo, this movie's had to reach its point, and i don't think it exposed itself as a story which would culminate so much as a life with increasing complexities. the magic wristband sidestory was well-crafted, i believe, along with the encounter at the hotel which wouldn't accept them, and the honeymoon visit which was a disaster for the newly married and a typical day for this hotel. it's such a hard question--what really were the types of lives that were being observed here? i can't quite think of another American director who has so well crafted anew the concept of Italian Neorealism (The Children Are Watching Us). the friendship arc that was introduced at the beginning, what a different form it took with the other mother's black eye, and Dafoe standing outside. what was on Dafoe's mind? what could he do? to end the movie with the question of What Could Anyone Do? is really a monumental task, in my opinion. the Fuck You was the highest point of the crescendo and it's the best Fuck You i've ever heard. there was never not a feeling in the movie, there was only sometimes the wonder of what would happen. which i think is very much what that place and context would feel like, and sometimes in fact it's all you hear from narratives about people in this type of life.
The Grapevine / Re: Lady Bird
« Last post by BigSock on October 14, 2017, 04:51:40 PM »
I need to see again to fully grasp my affection for it, but this is very sweet and tender

Not sure it's Frances or Mistress level, but this operates on a mostly different, and more broadly accessible level

I'm astonished by how in command Greta is behind the camera and she maintains a feverish comic energy until you begin to recognize a level of melancholy sadness beneath the surface that chokes you up and brings you to tears in the final act

I'm still ambivalent about the closing sections as it runs out of steam a bit, but Metcalf is the heartbreaking emotional anchor of it all, and this is evidence that Ronan is currently one of the best actresses in the game-- she effortlessly melts into a character so divorced from how she is in reality with the most infectious charisma
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