Author Topic: BRIAN DE PALMA  (Read 25394 times)

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modage

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BRIAN DE PALMA
« Reply #45 on: November 12, 2003, 06:23:18 PM »
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Quote from: godardian
I haven't seen Snake Eyes, but I'd be more than willing to give it a chance.


well, proceed at your own risk.

Quote from: godardian
Hell, I'd be more than willing to give Mission to Mars a chance!


now you're just talking CRAZY MAN!?!?!? :crazyeyes:
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Gamblour.

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« Reply #46 on: November 13, 2003, 07:58:51 AM »
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Quote from: godardian

...but different people have said that about all of De Palma's films. I haven't seen Snake Eyes


Snake Eyes is worth it for the opening shot alone, another great long, long, long take from de Palma.

And also, for the longest time, pre-PTA, I absolutely fucking loved Mission: Impossible, it's still one of my favorites, I used to say it was the greatest movie ever, heh. MI is just a great spy, espionage, thriller movie, and the music is really good.
WWPTAD?

soixante

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« Reply #47 on: November 22, 2003, 11:34:06 AM »
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Carrie is my favorite.  It came out when I was in high school, and it was refreshing to see a realistic movie about teenagers.  Great precursor to Heathers.  Movies like Carrie and Heathers explain why Columbine happened.
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Pubrick

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« Reply #48 on: November 22, 2003, 11:41:26 AM »
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Quote from: soixante
Movies like Carrie and Heathers explain why Columbine happened.

no they don't.
endless 'nothing is what it seems'-isms

godardian

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BRIAN DE PALMA
« Reply #49 on: November 22, 2003, 12:02:19 PM »
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Quote from: P
Quote from: soixante
Movies like Carrie and Heathers explain why Columbine happened.

no they don't.


Yeah... I mean, both those movies have good things you could say about them, and they might extrapolate the essence of teenage  misery, but I would never call either of them "realistic" as such.

And Columbine... well, it's tempting to think that the psychotic pecking order of teenagers was the cause of that, but I'm sure the reasons are infinitesimally more complicated than that and, harder to take, may not ever be comprehensible. The worst kinds of awful human events are the kinds where there's no "lesson," only loss. Or the lesson is so banal ("it's hard being a teenager; teenagers are so cruel") that it could never really help us understand or come to terms.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

SoNowThen

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BRIAN DE PALMA
« Reply #50 on: November 22, 2003, 11:27:51 PM »
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Godardian, I think if you watch all of Snake Eyes, then turn the tv off when it comes to the climax, then walk around for a couple minutes, and come back and turn it on for the last scene and credits, you'll love the movie.

With the exception of a final plot twist hokeyness and stupidity, the rest of Snake Eyes is a nice little DePalma thriller, with some amazing camerawork. Unfortunately, if you're gonna pick one scene in your movie to be absolute shit, it probably shouldn't be the climax...
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

NEON MERCURY

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« Reply #51 on: November 22, 2003, 11:34:58 PM »
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SPOILERS

....... :arrow: The thing that made Snake Eyes so bad was the fact that you find out who the 'bad guy' is 1/2 way through the film and the rest justs sucks.

Weak2ndAct

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« Reply #52 on: November 22, 2003, 11:52:32 PM »
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I humbly admit I own Snake Eyes, but for the first half as SNT mentions.  What really cracks me up about the movie is how in the last shot, Gugino mentions Cage being 'under water,' which never even happened.  The original climax had some fight in the water between Cage and Sinise and they ended up scrapping it.

godardian

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« Reply #53 on: November 22, 2003, 11:56:11 PM »
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Quote from: SoNowThen
Godardian, I think if you watch all of Snake Eyes, then turn the tv off when it comes to the climax, then walk around for a couple minutes, and come back and turn it on for the last scene and credits, you'll love the movie.

With the exception of a final plot twist hokeyness and stupidity, the rest of Snake Eyes is a nice little DePalma thriller, with some amazing camerawork. Unfortunately, if you're gonna pick one scene in your movie to be absolute shit, it probably shouldn't be the climax...


I'll have to check it out. I've heard that it has some really breathtaking camera stuff, like a 15-minute single take at the beginning? (Of course, this was before Russian Ark, but still...)

Someone else please vote for Blow Out! I can't stand that it's tied with Mission: Impossible!!
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Weak2ndAct

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« Reply #54 on: November 23, 2003, 12:02:29 AM »
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Quote from: godardian
Someone else please vote for Blow Out! I can't stand that it's tied with Mission: Impossible!!

Done.  It's in my 80's top ten and my favorite of his films.

ElPandaRoyal

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« Reply #55 on: November 23, 2003, 06:18:51 AM »
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Snake Eyes is a film I cannot hate. Not even some ridiculous plot twists and dialogues can turn me of a movie that has some brilliant editing and camera movements and shots and all that. I just really like it. It's all about style, but in this particular case, I couldn't care less, 'cause I love his style  8)
Si

soixante

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« Reply #56 on: November 23, 2003, 01:56:42 PM »
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I feel that De Palma was a great filmmaker through Blow Out, then beginning with Scarface he sold out -- Untouchables and Mission: Impossible were uninspired mainstream films that the De Palma of the 70's would have mocked.  Other than Casualties of War, his post Blow Out output has been mediocre.
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soixante

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« Reply #57 on: November 28, 2003, 01:13:23 PM »
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Finally got around to seeing Femme Fatale.  De Palma has a great eye, but in the service of what?  The story is dull.  And the twist at the end doesn't make it any more interesting.
Music is your best entertainment value.

SoNowThen

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« Reply #58 on: November 28, 2003, 01:16:26 PM »
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Quote from: soixante
Finally got around to seeing Femme Fatale.  De Palma has a great eye, but in the service of what?  The story is dull.  And the twist at the end doesn't make it any more interesting.


Talk to Godardian and GT about this one. I used to think that, but then they turned me on to the flick, I watched it again, and now fucking absolutely love it.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

MacGuffin

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« Reply #59 on: January 08, 2004, 10:29:59 AM »
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De Palma, Wahlberg & Hartnett Making Black Dahlia
Source: Variety

Director Brian De Palma and actors Mark Wahlberg and Josh Hartnett will make The Black Dahlia, an adaptation of the James Ellroy crime novel framed around the infamous Hollywood murder of wannabe actress Elizabeth Short.

The film, written by Josh Friedman, is a fictional account of the notorious murder in 1947 of an actress in Los Angeles and the investigation into the case. Based on a notorious, unsolved murder, the mystery begins in the late 1940s when the body of Elizabeth Short is discovered in a vacant lot with evidence she had been tortured for several days before dying.

Like Ellroy's novel, the movie will use the famous murder as a backdrop. The core of the film is the relationship between the partners as they are exposed to corruption and deceit. They also become rivals for the affection of a woman who's a dead ringer for the murdered girl.
“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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