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News and Theory / Re: Best Hotel/Motel movies
« Last post by jenkins on November 09, 2018, 01:30:11 AM »
Have either of you see his western? I havenít and Iíve never seen Cabin fever 2 either. But I actually most want to rewatch either the the innkeepers and/or the Sacrament
News and Theory / Re: Best Hotel/Motel movies
« Last post by polkablues on November 09, 2018, 01:27:35 AM »
Ti runs in the same crowds as Ghostboy, so itís not totally out of the realm of potentiality.
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on November 09, 2018, 01:26:35 AM »
I believe he was being metaphorical. What can you do that will make people raise their hands and listen to you? It bothers older people a lot, how transgressive art is basically dead. Basically after the 50s subculture art flowered and by the 90s grunge occurred, and there kind of hasnít been a change since then, in terms of art culture. In terms of ideology. How can you make people listen to you? Point a gun at them. What is your gun, use it, thatís what heís saying.
News and Theory / Re: Best Hotel/Motel movies
« Last post by Reelist on November 08, 2018, 10:37:27 PM »
I watched 'The Innkeepers' tonight (spoilers), it grows on me more each time. I watched it on my laptop the first time and I don't think I got the full effect of it's sound design. I found myself legitimately scared in pretty much all the places it wanted me to, which is a rare feeling to get when you know all of the horror tropes. Ti West has this way of really drawing you into the characters and knowing them as real people before the horror starts. So even though there are only two deaths in this movie it feels like a huge deal because of how likable Sarah Paxton's character is.

Anyway, I wanted to bring this up. In this clip, Kelly Mcgillis from 'Top Gun' asks Sarah Paxton if she's an 'inspiring actress' at 1:21. With subtitles it says "aspiring actress" but listen to her pronounce it a few times:

"The Innkeepers" Co-stars Pat Healy, once again working behind a counter. Anyone who wants Pat Healy to carry their movie must be a huge fan of 'Magnolia', where do huge fans of Magnolia come? I don't know, guys. Sometimes I just.don't.know.
News and Theory / Re: What Films Are We Watching?
« Last post by Reelist on November 08, 2018, 09:40:53 PM »
Yeah, I've kind of puzzled over exactly what he meant by that. What is he implying in becoming radicalized? The origins for Taxi Driver were when he was living out of his car and had to buy a gun to protect himself. Was that his moment of radicalization and he's literally suggesting I buy a gun, to feel that rush of power it gives you? Or is he saying that the only way to have an effect on the culture these days is to shoot a place up?
I've never wanted to own a gun, if I ever do feel the need to and it's not for hunting purposes then I'm going to need to seriously re-evaluate my life situation. Nothing against shooting targets, but I don't want something like that in my house, and I've been burglarized.

News and Theory / Re: What Films Are We Watching?
« Last post by eward on November 08, 2018, 01:17:17 PM »
That's like the perfect tagline for that movie, too.
News and Theory / Re: What Films Are We Watching?
« Last post by Reelist on November 08, 2018, 12:12:48 PM »
I love 'The Mosquito Coast'! Just watched it a few weeks ago. Like 'Taxi Driver' it's such an interesting character study of a guy who you're rooting for because he seems to have his heart in the right place as they slowly decline into insanity. It's my favorite 'jungle' movie.

I can't believe how much of Schrader's stuff I haven't seen, Taxi Driver being my #1. Maybe it's because I have found them to be kind of hit or miss for me. I still think I owe it to him to have more familiarity with his body of work there are so few screenwriters I've encountered with as singular a voice as his.

I went to a Paul Schrader speaking engagement last November. Forgot to bring any stuff to sign. He was very open to chatting and taking pictures afterwards but I just wasn't confident I'd be able to have the conversation I wanted to with him, which would ultimately be about me wanting to write the 'taxi driver' of the new millenium. No, not 'uber driver' but an urban vigilante movie with that visceral grit of life on the streets. I believe he said somewhere in his speech that Taxi Driver would be impossible to be made today and I took that as my answer.

Since I felt too awkward about standing in line to meet him, I resolved that I need to have some kind of interaction with him. So, when he asked for any final questions, I blurted out ( instead of raising my hand ) "Do you think your movies have the potential to change what's going on in society?" or something to that effect. Not a well thought out question, but I had to get something out there to veer away from the stupid college-kid questions he was being asked ("What's your favorite movie that you've ever made?")

I can't remember his answer verbatim, I had some of it written down in my phone that I lost. It was something like this:

Q: Do you think your movies have the potential to change what's going on in society?

A: Well that would be assuming that movies still have an effect on the culture, which they don't. 'First Reformed' goes into climate change, but do you think that's going to change a Trump supporters mind? There are too many venues for people to get their information for one movie to have the impact they did in the 70's. Back then, everyone was just getting their news from Walter Kronkite, so when a movie came out like 'Coming Home' it would make people want to go out and protest the Vietnam war.

This is the part that really stuck with me, that was along the lines of the conversation I wanted to have with him. (keep in mind I was wearing my work uniform when I asked this)

"When I was your age, I was already radicalized. And if I were your age right now, I would be radicalized. If you want to make a change, get a gun"

So yeah, I'll be kicking myself the rest of my life for not having him sign my Taxi Driver poster: "If you want to make a change, get a gun"

News and Theory / Re: What Films Are We Watching?
« Last post by Something Spanish on November 08, 2018, 11:08:00 AM »
I saw Touch in theaters early '97 because knew Tarantino was adapting Leonard's Rum Punch and would see anything QT related, no matter how distantly related it was. That one's one of Schrader's lesser known flicks. Don't remember much except blood coming out of Ulrich's palm and how goofy the whole thing seemed.
This Year In Film / Re: Suspiria
« Last post by Something Spanish on November 08, 2018, 10:58:43 AM »
I understand the problem most have with this new Suspiria, either you go with the Doctor storyline or the movie won't work well for you. Swinton playing the feeble geriatric  doc was a bit distracting, maybe would have worked better had I not known she was underneath all that makeup. There is much to love about this, Guadagnino's influence being a top contender. The movie carries its weight in mood and direction.  Feels  like the only way to remake this would be adding meat to its weightless story, which as I understand seems to be the main problem for folk, the tacked on political backdrop and added storylines supposedly feel unnecessary. For the most part I loved it, was whisked away by its mystique, its deathly chrome like palette. Dakota Johnson and Swinton are both strong forces, Johnson proving her ballet chops with each tip-toed spin, Swinton giving the Grim Reaper a good run for his money. Immediately felt the need to rewatch it after stumbling bleary eyed out of the theatre at 2am. Gore  was more subdued than what I expected, the lion's share kept tightly coiled until finale, as was the overall horror. Don't get me wrong, the movie still had me freaked,  at the very least grossed out, but if you're seeking a typical horror movie this most likely will not cut it. It's much more operatic than that, throwing emotional weight around instead of trying to scare the shit out of you. There's The Nun for those more immediate sensationalist experiences. The finale still delivers the goods, and the victim mutilation is as focused upon as any Argento kill, only Guadagnino strives for more than set-piece deaths, watching his attempt is endlessly fascinating. Can't wait to see this again, which should be a while since it's disappearing from most theatres this friday.   
This Year In Film / Re: Mandy
« Last post by Alexandro on November 08, 2018, 10:39:34 AM »
I watched this two days in a row because it was fucking awesome.
I love that is not an intellectual exercise and it's purely visceral, and that you can enjoy it on the formal choices alone. Yet, Cage really shines here with almost no dialogue at all. It's more like an experience than a film in a very literal sense.
Wish I could have seen it in the cinema, but my big tv wasn't that bad at all.
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