Recent Posts

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91
News and Theory / Re: letterboxd.com
« Last post by RegularKarate on June 13, 2017, 10:09:21 AM »
I'm bumping this.
Who is on Letterboxd? I'm on there, same username.

There are a bunch of good critics who don't currently have a home reviewing movies on Letterboxd.
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The Small Screen / Re: Fargo (TV series)
« Last post by diggler on June 13, 2017, 09:51:09 AM »
Shit, can't believe I overlooked that.
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David Lynch / Re: The Official Twin Peaks Thread (TOTPT)
« Last post by Sleepless on June 13, 2017, 08:41:31 AM »
Yes, agree with that vibe. But that's what it is, a 18 hour movie. The "episodic" elements of the show feel like they're only there to placate/infuriate the viewer. Somewhere said that the most recent ep was the best since #1. Not sure I agree with that, but it did feel a bit more cohesive than some of the past few. But even the previous episode had three standout moments that this one lacked.

I'm kinda mad at myself because I called Laura Dern but neglected to post here.
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This is something.


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This Year In Film / Re: Logan
« Last post by Jeremy Blackman on June 13, 2017, 12:56:06 AM »
Yup, this was exactly what I wanted. I had no attachment to these characters. I don't think I've actually seen an X-Men. But this film punched me in the gut.

Sure, there's too much explaining and foreshadowing, and there are a few too many conventions holding the movie back. But that was easily overpowered by the action and performances, both of which approach Fury Road levels. The performances... my God. Gritty authentic intensity. And the girl. Jesus. She's the MVP.

SPOILERS

And the sequence when Prof X has an attack and Wolverine has to get to the hotel room, absolutely bonkers!

Yes. That was incredible... literally jaw-dropping for me. Speaking of Nolan, that sort of attempts to one-up the hallway scene in Inception. Amazing stuff.

Can't overstate how essential the blood and gore was. The actions scenes worked so well because they felt so painful and debased. Logan and Laura don't enjoy killing. It's feral, brutal, and always comes with a cost.
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News and Theory / Re: Film Restoration and Preservation
« Last post by wilder on June 12, 2017, 07:03:38 PM »
Quote
Produced in the aftermath of the horrific destruction witnessed with the dropping of atomic bombs at Hiroshima and Nagasaki, the “tri-dimensional religious art film” The Way of Peace (1947) represents a historic early example of a sponsored anti-nuclear film.  Created under the auspices of the American Lutheran Church, the uncompromising film, animated with stop motion and puppets, was intended to influence public opinion and international policy by graphically illustrating how man’s inhumanity to man could ultimately lead to the destruction of the Earth.  The cautionary tale features grim imagery that undoubtedly shocked audiences in its time, including expressionistic sequences depicting torture, lynching and Nazi fascism, culminating with an extended, technically-innovative special effects sequence dramatizing a devastating global nuclear war that results in the extermination of humankind.

The creative team assembled to make The Way of Peace represents a notable cross-section of Hollywood talent of considerable interest to cinema and media historians.  The short film was written and directed by American animator, screenwriter and director, Frank Tashlin, perhaps best known as the director of many golden-era Warner Bros. animated shorts and a number of major studio films starring Jerry Lewis, including  Cinderfella (1960) .  In a highly successful film career spanning decades, The Way of Peace represents Tashlin’s lone foray into dramatic work.  Technical supervision and the “original conception” for The Way of Peace was provided by the Reverend H.K. Rasbach, who would later serve as an advisor to director Cecil B. DeMille on The Ten Commandments (1956) and director George Stevens on The Greatest Story Ever Told (1965).  Rasbach would also later work with the West Coast Commission of the National Council of Churches on film and broadcasting, reviewing scripts to insure they met decency standards. The Way of Peace was co-produced, photographed and featured puppet design by Chinese-American special effects pioneer Wah Ming Chang, who worked on character designs for Walt Disney, puppet animation and special effects for George Pal, and innovative and highly-influential sculptures and props for the original Outer Limits and Star Trek television series.  The film's other co-producer and art director was noted artist, etcher and set and production designer James Blanding Sloan (foster father to Wah Ming Chang, with whom he formed East-West Studios).  Lastly, The Way of Peace was narrated by Academy Award-nominated actor Lew Ayres, a dedicated pacifist and, controversially, with great personal sacrifice, a prominent conscientious objector to World War II.

In a 1947 article covering the production of The Way of Peace titled “Peace and Puppets,” Newsweek magazine reported that “Mr. Rasbach worked with technicians for twenty months at a cost of $60,000 to get the effects he wanted.”  That year, the startling product of that labor premiered in Constitution Hall, Washington D.C., with The Way of Peace screening to over 2,700 invited guests, including members of Congress, representatives of the Supreme Court and leaders from numerous branches of government.  Today, The Way of Peace stands as a unique artifact of the atomic age, significantly intersecting the histories of animation, sponsored film, religion, politics, nuclear policy, and propaganda.  In 2014, the landmark film was named to the National Film Registry by the Librarian of Congress.

UCLA Film & Television Archive completed preservation of The Way of Peace in 2017 with a grant from the National Film Preservation Foundation.

— Mark Quigley, manager, Archive Research and Study Center


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This Year In Film / Re: A Ghost Story
« Last post by Ravi on June 12, 2017, 04:45:39 PM »
I saw this last night at the Oak Cliff Film Festival. What an amazing film. I don't want to reveal too much about the film, even though reviews are out there. It starts out as a personal and intimate film and gradually the ideas get bigger. It's remarkable how David has conveyed existential ideas with minimal dialogue and simple, well thought-out imagery. The image of the ghost as a white sheet goes back centuries, and here it's a visualization of something eternal and timeless.

I will definitely buy the soundtrack, which releases on July 7th.
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The Small Screen / Re: Fargo (TV series)
« Last post by polkablues on June 12, 2017, 02:49:26 PM »
Well, Billy Bob Thornton.
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The Small Screen / Re: Fargo (TV series)
« Last post by diggler on June 12, 2017, 02:38:36 PM »
The first half of this past episode was intense as hell, very well done.

Is this the first season to feature actors who appeared in Coen films?
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This Year In Film / Re: It Comes at Night
« Last post by RegularKarate on June 12, 2017, 02:20:16 PM »
RK you've met the DP of this film when we all hung out in Austin that one time.
Oh crazy! Well, he did a great job because the film looks amazing.
Actually, I'll say every did a great job. The movie is really well acted and well directed.
I just really wish there was more story there.
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