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News and Theory / Re: All things Cult Cinema
« Last post by jenkins on Yesterday at 08:05:35 PM »
adding it to cult because it hasn't been released on blu-ray yet (i just checked). this is the best John Fante screenplay that happened,* with Ben Hecht, Edward Dmytryk director, and it's a lovely example of southern melodrama (which i adore). it's my good fortune that someone made this trailer for it

*despite his self-adaptation of Full of Life maybe, i've never seen it actually
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by jenkins on Yesterday at 06:22:59 PM »
Rupert Pupkin is the King of Comedy name and the pen name of an la cinephile. he shared his favorite releases of 2018 and i've sampled from it

This Year In Film / Re: the house that jack built
« Last post by eward on Yesterday at 08:06:44 AM »
Saw the R-Rated version (it played very well with the IFC audience) and the changes were predictably cosmetic:


After Uma Thurman's murder, they cut to a CU of her severely battered face - the R-Rated version shows a portion of her face still intact, whereas in the unrated cut it's pretty much smashed all the way through.

In the scene where he shoots the kids and their mother, in the unrated cut you see the children's injuries (a leg blown off, a bullet-pierced forehead) inflicted in detail, whereas in the r-rated version they cut away right at the moment of impact.

The Riley Keough scene, in the unrated cut we see the first slash of the now notorious mastectomy, whereas in the r-rated version they just cut to a CU of Riley Keough screaming in agony (more effective, I thought).


If there were any other differences, I either didn't notice or have forgotten. Was great to see it a second time, and Matt Dillon made an appearance beforehand, spouting the same answers to the same general questions he's been asked in all the other publicity bits that are out there.

Eager to see how you guys respond now that it's out.
This Year In Film / Re: Burning
« Last post by jenkins on Yesterday at 12:53:09 AM »
as a Roma fan, please don't see it
This Year In Film / Re: Burning
« Last post by wilberfan on Yesterday at 12:44:20 AM »
It's so pointlessly long, not about much than its own pointless boredom.

Had to check it out due to it's stellar reviews and inclusion on a few Top-10 lists. 

I liked it less than Drenk did.  And I'm hearing rumblings about "Roma" that make it sound like a very similar slog....
The Small Screen / Re: Making a Murderer
« Last post by Jeremy Blackman on December 13, 2018, 11:28:50 PM »
Yeah. That podcast is absolutely devastating to the documentary. I think it's the most thorough (yet somehow concise) debunking of anything that I've ever encountered. Based on the evidence alone. But also logic. It lays out all the dumb ways we were manipulated. I have to say, more than anything, I felt embarrassed that I had ever fallen for it.

I do like how Reelist called it pretty much immediately.

Sorry, but I think we've been duped into caring about these mouth breathing degenerates.
The Small Screen / Re: Making a Murderer
« Last post by ©brad on December 13, 2018, 08:26:08 PM »
Damn, really? I guess I'll give it a listen. I think one obvious lesson from all of these true crime shows is it's not difficult to manipulate your audience.

I'm only about 6 episodes into this asshole of a second season and I'm not sure I'll continue. In the first episode, the creators begin with a meta-media montage of critics debunking and criticizing season 1, as if by simply acknowledging the controversy around the show, they are absolved from it. Which, no.

I think I'm just starting to sour on true crime, as much as I shamelessly binge it. There's a scene where Steven's father screams in agony at the sight of one of the cameras being there, and regardless of whether Steven's guilty or not, just hanging on that mom's sad face over and over, it's misery porn at this point.

I will say, JB, there is a new layer in the second season that's very captivating, and the only real reason to watch it. I'd be curious to hear your take on her. 

The Director's Chair / Re: David Lowery
« Last post by jenkins on December 13, 2018, 07:52:50 PM »
Letterboxd David Lowery Q&A

Discussing Never Goin’ Back and beyond

And that film placed at SXSW and a couple of other places, and then she rewrote the script and recast it and when we made A Ghost Story and sold it to A24, we took proceeds from that and just put it right into her movie and used that to pay for her film. So she made the same film twice and the second time it worked, it was exactly the movie she wanted to make.
And now she has a career as a director and she’s about to make a Ryan Reynolds movie. It is a sequel to Home Alone. The working title that was announced under is Stoned Alone.
Other Media / Re: misc book thread
« Last post by jenkins on December 13, 2018, 05:56:39 PM »
he allows me to look at heavy stories in clear ways, with even some lightness, is why i think he's a general good idea for a reader
The Director's Chair / Re: Tim Burton
« Last post by WorldForgot on December 13, 2018, 05:00:34 PM »

Burton's Poe adoration, boosted by Walken, DeVito, Keaton, and Pfeiffer... Stan Winston, Stefan Czapsky, you can't find a frame that isn't Gothic nightmusic.

" I wouldn't touch you to scratch you"

^ A peak in childhood terror...

Made it out to The New Bev for their Dec 2nd kiddie matinee of Batman Returns, because I've never seen it on  VHS, WB snapbox DVD, but never in a theater. And now, inaugural weekend 35mm! Lotta good vibes but The New Bev also does a raffle for a children's tickets so there was a sorta meta 'ting I hadn't realized. How inundated culture is with Batman as commercial merch. A highlight of my year. I'm think this film defined a genre sensibility for me. The unsettling whimsy is tied to horror but I remember different moments going from repulsive to sinister triumph. A turning point in twisted sympathy to Cobblepot coupled with, like, caring for the Max sidevillain, which i didn't for years, but its a for real uniting ill, and bizarro Thomas Wayne plotline. Gotham's money-ties turn Xmas into an even worse, deeper red. I'm glad this can play broad. You can bring the kids to one of Burton's horniest and brightest. (you're a sucker when you like this last line)

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