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This Year In Film / Re: Black Panther
« Last post by jenkins on February 18, 2018, 06:15:11 PM »
as far as i can tell the less you think about it as a comic book movie the better. whatever the qualifications of a comic book movie are, and they sound as rigorous as any other qualification, this movie works at an elemental level. it has what's called a radiating theme. and it's a mature voice succeeding in the mainstream, which is a great type of movie, always a great piece of art. yes i think it'd work for you.
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This Year In Film / Re: Black Panther
« Last post by Punch Drunk Hate on February 18, 2018, 05:44:40 PM »
As someone who isn't a Comic Book person, do you think this film would worked for me? I'm curiosity of all the cooperative elements of Afro-culture that makes up the world in the film. It's heartening to think a majority-black casted film will dominated the global box office and hope this will be a wakeup call for Hollywood executives who keep propitiating the myth that films starting a black actor don't travel overseas.
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This Year In Film / Re: Black Panther
« Last post by jenkins on February 18, 2018, 03:21:49 PM »
WorldForgot xx.

i went to see it and i don't want to talk about this/that. i don't care. i adored this movie.
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This Year In Film / Re: Black Panther
« Last post by WorldForgot on February 18, 2018, 12:21:14 PM »
it's just not a high-culture genre, i mean....

Haven't seen this yet, but you beg an interesting question: could it become one? If these things are really here to stay, is somebody gonna make a true art film out of one? Sure, there have been gestures towards elevating the material, but I'm talking an out and out Bela Tarr comic book movie.

Mangold suggests he did with Logan.

There's no shallow gesturing in this film. Even the punchlines to their jokes are coded with cultural dialogue. While I agree it's clear these films are formulated by Disney committee, Coogler injected as much meaning to each beat of the formula as can work within the (Marvel) origin story aesthetic and skeleton.

On top of that, it doesn't feel like a director going through the motions to fulfill that skeleton, either (Iron Man 2, Ant Man, Thor), but somebody whose films have all been about primarily race and violence, eager, etching Black pride onto the Disney catalog of Princes, Princesses, and mythical personas, all the while keeping his thread of rage intact. The casino brawl here is Creed lvl fluid. But its ritual combat, that's layered in its own way. A bluff and a precipice. All the rest, aesthetically, is prescribed by the studio/producers, as it goes with this sort of movie. The costume designs pay homage to so much history (Oscar Grant intertextuality via the prologue'z styling, traditional body mods, natural hair from every black character), its score interplays between the traditional and modern in this really fun leaps, gah, Xixax... "I'm just feelin it."
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This Year In Film / Re: Black Panther
« Last post by BB on February 17, 2018, 09:22:23 PM »
it's just not a high-culture genre, i mean....

Haven't seen this yet, but you beg an interesting question: could it become one? If these things are really here to stay, is somebody gonna make a true art film out of one? Sure, there have been gestures towards elevating the material, but I'm talking an out and out Bela Tarr comic book movie.
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Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by csage97 on February 17, 2018, 08:11:36 PM »
Crazy part from the Dylan Tichenor interview about deleted stuff:

"TICHENOR: This is the fireside chat. This scene was originally many times this length. A lot more dialogue. Sections about his children and the baby-mamas, etc. About Alma’s desire to be a wife… a lot… minutes. But, ultimately, and from the beginning really, it was rhythmically obviously too long, but also way too many things in it. In paring down the film we took out most of this scene, so it plays as part of the falling-in-love date and not as its own chapter"

Im glad that stuff isnt in the movie. It kind of complicates things a bit too much although it's not unrealistic for the times.

I'm ultimately glad for those decisions ... but it would be really interesting to have all that stuff in there in some sort of extended cut/extended story.

I think he gave more interviews for magnolia than any of his others, but that was back when he was in manic-cocaine-wunderkind mode.

Loving the amount of interviews he's been doing for this press tour, he knows what he's gotta do to sell the film and seems cool with it. And its been really nice to see him in such a good place.

I've always wondered if the manic cocaine thing is just hyperbole to describe his demeanor and mood in those days, or if he was actually a coke-head.
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This Year In Film / Re: Black Panther
« Last post by jenkins on February 17, 2018, 08:04:19 PM »
personally i feel calmer now, it's becoming clearer to me. "more people are going to see this than have read The Invisible Man" has been my favorite high-culture insult. Ellison of course. i like that it's letting people down, that they're giving it really high expectations. that's interesting. it's a comic book movie! what days we live in. i most prefer people in over their heads with something big, plus moon shots, and i have zero idea what the marvel production line is like. he brought in his dp and i think he did all he could do to make it his own. it's just not a high-culture genre, i mean....
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This Year In Film / Re: Black Panther
« Last post by ono on February 17, 2018, 07:56:13 PM »
I watched the trailer because of the hype, but it made it seem like it wasn't really about anything.  Seemed like a black Avatar, but I've never seen either.  Point being, I want to embrace a movie like this, but there's no reason yet for me to, and I think samsong's last paragraph sums up how I would probably feel about it.
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This Year In Film / Re: Black Panther
« Last post by samsong on February 17, 2018, 06:53:36 PM »
the last paragraph of keith uhlich's review sums it up pretty well for me:

“The tension between commerce and craftsmanship is a key facet of American pop cinema. But as the budgets for blockbuster tentpoles have gotten larger and the projects more risk-averse (with Marvel Studios and its parent company, Walt Disney Pictures, as Exhibit A overlords of the trend) it’s become much too easy to acclaim fleeting inspiration and shallow gesturing toward diversity and goodwill as some kind of apogee. There is no doubt that Coogler makes the most that he can out of this property. And it’s more than certain that Black Panther will give audiences, especially underrepresented ones, a vision of themselves that Hollywood historically denies. And still the film seems, even at its best, like an apex of lowered expectations.”

i thought coogler was clearly in over his head handling something this big.  any semblance of personal style creed (i haven't seen fruitvale station) hinted at is virtually gone in black panther.  it's a very sterile product off the marvel production line.  on a technical level i found the movie wholly mediocre.  the action set pieces are pretty lifeless and incoherent. 
 it's clear coogler understands the cultural importance of a movie like this with his thematic moon shots, but his reach exceeds his grasp by quite a bit.   well intentioned but really poorly executed.

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Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by Tdog on February 17, 2018, 12:36:38 PM »
Crazy part from the Dylan Tichenor interview about deleted stuff:

"TICHENOR: This is the fireside chat. This scene was originally many times this length. A lot more dialogue. Sections about his children and the baby-mamas, etc. About Alma’s desire to be a wife… a lot… minutes. But, ultimately, and from the beginning really, it was rhythmically obviously too long, but also way too many things in it. In paring down the film we took out most of this scene, so it plays as part of the falling-in-love date and not as its own chapter"

Im glad that stuff isnt in the movie. It kind of complicates things a bit too much although it's not unrealistic for the times.
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