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81
2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by Jeremy Blackman on September 16, 2018, 02:50:12 PM »
Side note. To the extent that Rian Johnson was involved in the trailer, I think he can take some blame for the "controversy" as well. That trailer was trolling the audience pretty hard after all, suggesting Luke might be the actual last jedi, hinting that Rey might be turned, and then of course positioning "burn down the past" as a meta thing. Having listened to Rian Johnson in a number of podcasts, this strikes me as being aligned with his sense of humor.

Personally, I thought the trailer was so brazenly trolling that its misdirection almost amounted to reverse-spoilers.

Great trailer. Feels like 75% misdirection though.
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2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by Jeremy Blackman on September 16, 2018, 02:34:07 PM »
The thing about burning down the past still infuriate me. And not only because it appeared on headlines, trying to persuade us that it makes the work "mature" and interesting, but mainly because the movie—at the end—does the contrary despite the fact that characters try to spite out themes which can't be respected by a modern Disney franchise.

So on this point your complaint is with the press and Disney's marketing team, rather than the film, then? The line in question is said by the villain, who at best has shades of antiherodom but turns out to be very morally wrong. Which includes being morally wrong specifically about that line. (He's also a hypocrite, because his worshipping Darth Vader is toxic nostalgia.) So I have no problems with him saying that line. And I don't think it's some betrayal or copout that the movie ends up disagreeing with it.

To your second point, if you're saying that The Last Jedi tries to deal with themes that ultimately can't be appropriately explored within the constraints of a Disney film, I think that's an interesting criticism and might even agree.
83
Quentin Tarantino / Re: Once Upon A Time In Hollywood
« Last post by BigSock on September 16, 2018, 04:33:07 AM »
Bruce Dern is replacing Burt, isn’t he? I’d love Keitel, De Niro, or Jack if he can somehow get Nicholson out of retirement
84
Paul Thomas Anderson / Re: PTA Interviews (on YouTube or otherwise)
« Last post by wilberfan on September 15, 2018, 11:18:16 PM »
Be sure and point us towards it when it's ready! 
85
The Grapevine / Re: The Other Side of the Wind
« Last post by BigSock on September 15, 2018, 05:56:46 PM »
I only have Other Side of the Wind on the 29th, Her Smell on the 29th, and Her Smell on the 30th to sell.
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Paul Thomas Anderson / Re: PTA Interviews (on YouTube or otherwise)
« Last post by Pringle on September 15, 2018, 05:54:18 PM »
Conan O'Brien just announced that all of his shows will be archived online, which means we will finally get to see that appearance PTA made in 2000. As a PTA nerd and a classic Conan nerd, I can't wait!
87
This Year In Film / Re: Revenge
« Last post by Jeremy Blackman on September 15, 2018, 01:52:20 PM »
SPOILS

Oh my. I didn't even realize that was a phoenix. That was actually one of my favorite elements of the movie. Maybe it would be cheesier upon rewatch. I will concede that they held that reveal shot for too long (and multiple times?). The film could have used a tighter edit overall, I think, symbols or no.

I would trim the scene of the phoenix brand, but I certainly wouldn't take that out. It was pretty.
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This Year In Film / Re: Revenge
« Last post by polkablues on September 15, 2018, 01:18:55 PM »
SPOILIES

I did very much respect the way she chose to shoot the rape scene, disassociating the viewer from it and not allowing for the possibility of taking some sort voyeuristic satisfaction from it. That, to me, felt like the biggest political move of the film to separate it from its genre peers.

The only moment in the film that it felt like they really outkicked their coverage was when she uses the beer can in the cave to cauterize her wound and it left the perfect scar of the Phoenix from the logo. I love big fat sloppy symbolism, but that still made me roll my eyes a bit. And then they had a chance at salvaging it when the guy comes in and blows her head off and she snaps awake and you realize that she had passed out — if at that point she had looked down and the scar was just a scar, I would have stood up and applauded. They could have had their metaphor cake and still eaten it with a fat slab of realism, but no, the fucking Phoenix was still there. Certainly didn’t ruin the movie, but it felt like one of the few rookie moves in an otherwise savvy film.
89
News and Theory / Re: All things Cult Cinema
« Last post by jenkins on September 15, 2018, 12:56:34 PM »
American Genre Film Archive

their list of titles is actually quite long and there's a lot more i can learn about them. i quoted two of wilder's posts about them. there's also a Lady Street Fighter post in this thread. and a Bat Pussy post exists somewhere i think, i can't find it

Oct 9 they're releasing Ninja Zombie



90
News and Theory / Re: All things Cult Cinema
« Last post by jenkins on September 15, 2018, 12:52:27 PM »
Anna Biller joins the AGFA advisory board
via American Genre Film Archive
BY JOE ZIEMBA • MARCH 30, 2017



We are beyond honored to welcome Anna Biller, the filmmaker behind VIVA and THE LOVE WITCH, to the AGFA advisory board.

At the American Genre Film Archive (AGFA), we believe that genre films should rule the world. But we can’t make this happen alone. Our advisory board is a coalition of like-minded fans who believe in the importance and preservation of genre films. Together, we ensure that these movies will be available on 35mm until the end of time. Or until the planet explodes. Whichever comes first.

The AGFA advisory board consists of Alamo Drafthouse founders Karrie and Tim League, filmmakers Paul Thomas Anderson and Nicolas Winding Refn, and musician RZA. Today, we’re proud to welcome Anna Biller to the ranks.

“I am thrilled to be included on the board of the American Genre Film Archive,” says Biller, “I believe passionately in continuing the legacy of film, and in preserving some of the great genre films that are such a vital part of our history and culture."

Anna Biller’s work is an inspiration. Meticulously crafting VIVA and THE LOVE WITCH on 35mm, Biller is a breath of fresh air for twenty-first century genre filmmaking. She channels the hyper-stylized aesthetic of Jaques Tati, the surreal melodrama of Nicholas Ray, and the pop-art pulp of Doris Wishman to create movies that feel like nothing else before or since.

For more on Anna Biller and her work, visit: www.lifeofastar.com

November 21, 2017

William Morgan's The Violent Years (1956) on blu-ray from the The American Genre Film Archive and Something Weird Video, from a new 4K restoration.



Paula Parkins is the teenage daughter of wealthy parents whom don't seem to make time for her, so she looks for thrills as the leader of her all-girl gang who steal, rob, and rape young men. Screenplay by Ed Wood. (The label has also confirmed that the film will be paired with Boris Petroff's crime thriller Anatomy of a Psycho).

The Violent Years (1956) - Amazon





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