Author Topic: The Film I like Most by ________ _______ and Why!  (Read 11723 times)

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Duck Sauce

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« Reply #15 on: June 02, 2003, 03:52:33 PM »
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Quote from: pookiethecat
though i hope my post didn't prompt that comment, ducksauce.  ha...


no, my post prompted it

Redlum

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« Reply #16 on: June 02, 2003, 04:12:19 PM »
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Dammit, I started doing these but my answer was mostly 'all of them' and 'just because..'

Apart from...

Soderburgh - Traffic
Because it gets better every damn time.
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godardian

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« Reply #17 on: June 02, 2003, 04:42:21 PM »
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Quote from: redlum
Dammit, I started doing these but my answer was mostly 'all of them' and 'just because..'

Apart from...

Soderburgh - Traffic
Because it gets better every damn time.


I'm set to re-watch this soon, and I hope you're right. I remember being underwhelmed when I saw it upon its release. I'm kind of looking forward to revisiting it, though.
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Derek237

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« Reply #18 on: June 02, 2003, 06:08:34 PM »
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PTA- Magnolia...uh, because it's the only film of his I've seen.

Wes Anderson- The Royal Tenenbaums. Loved the cast, the story, the music. Everything. But I liked Rushmore almost as much.

Coen bros.- Fargo cause it's so damn funny.

Cameron Crowe- Vanilla Sky. I can't begin to explain how much I love it.

David Fincer- Fight Club, Edward Norton and Brad Pitt are just great actors and I love its dark humour.

Kubrick- Clockwork Orange. Again, dark humour and great acting.

David Lynch- Mulholland Dr. See PTA.

Scorsese- Goodfellas. See Cameron Crowe.

Steve Soderberg- Traffic. I like how it shows the drug scene from every angle. Great cast, too.

Speilberg- This is a toughy. If anyone makes 'generally great' movies it's him. But I guess I'm going with Jurassic Park.

QT- Pulp Fiction. See Scorsese or Cameron Crowe.

Gold Trumpet

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« Reply #19 on: June 02, 2003, 06:23:48 PM »
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p.t. anderson - Punch-Drunk Love . The movie where I feel he is starting to dominate the brushstokes of the paintings more so than general conformity or any specific movie. I think the most daring thing in movies is to try to show yourself without being drowned in thought on how it looks compared to other works.

wes anderson - bottle rocket. Only movie by him where i feel his story is not being compromised by the gimmickery of his style because he has yet to write to fully explore for that style if he wants to make it effective. His stories are still too typical to achieve what Fellini could in his stride when he could just share his feelings instead of telling a specific story.


coen brothers - I honestly don't care for any of their movies enough to differentiate.

cameron crowe - almost famous. Say Anything is more personal, but almost famous is the most mature work by Crowe in bringing a film that is both entertaining and heartwarming.

david fincher - The Game. Only movie I felt that wasn't dominated by the visuals of the background first and foremost. The film played to its story and kept the fitting pace all the way through according to the story even though Fincher is about a dialed up atmosphere.

Stanley Kubrick - 2001. Its really his contribution to the art of cinema for that century and in my mind the best film ever. Not most entertaining to watch, but no film clearly divides in showing how far it all can be pushed.

 
David Lynch - Mulholland Dr. Its really a masterful film that is so curious in how it sets everything up to make you want to attempt to explain it, but you fully can't. You just hit personal subjective questions and in your attempt to analyze further, you only appreciate every single bit of the film because no part slacks off, everything is done to interest.

Martin Scorsese - In my mind, Scorsese has divided himself into two directors. One is of pure personal vision and is deeply inspired by John Cassavettes. For that, I say Taxi Driver because frankly, no film as is powerful in its approach to the subject and ambiguilty in trying to look at it in a serious and mature way. The other filmmaker in him seems to lie in his affinity to be that old time filmmaker and so I go with Goodfellas, which created an epic out of a moasic piece of work in looking at a life. Not to grab you with any specific story, but to capture a feeling for a world. A world that dominated Scorsese's own childhood fascinations.

Steven Soderbergh - Traffic. Frankly, his most powerful and reaching of films. I'm still waiting for Soderbergh to seem like he is getting back off the others he is influenced by or the work he is remaking. The sad thing in that is that is never much difference between the previous and new works. Even if Soderbergh wants a low key filmmaking approach that is rooted in hand held camera, he should realize his work has to differentiate between the previous.

Steven Speilberg - Schindler's List . Most powerful and mature work and if he used any other name for this movie, many people here would love this work because it is a purely adult film. The Speilberg lights glows too much for some people to really appreciate this film, though I understand some may not love the movie, I also believe some are careful to admit favor to the man. I still love his other work too when done well. Its just that this movie is so powerful and feels like it is made from another vision of the movie world and not set up with any normal hook and seems to be documenting on a scale only for action films or whatever. Maybe thats why it is so unique; because it can make its vision so personal and yet so large in scope.

Quetin Tarantino - Pulp Fiction. A masterpiece of a movie that is playing with all the bad cliches of gangster stories but yet is drowned in so much realism it can never be understood what is serious and what is not. And instead of replaying a single gangster element, it goes after them all making the film even more adventurous and unique.

~rougerum

The Silver Bullet

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« Reply #20 on: June 02, 2003, 06:45:06 PM »
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PAUL THOMAS ANDERSON: Magnolia A+++
WES ANDERSON: The Royal Tenenbaums A+++
THE COEN BROTHERS: Fargo A+++
CAMERON CROWE: Almost Famous A
DAVID FINCHER: Fight Club A
STANLEY KUBRICK: Eyes Wides Shut A+++
DAVID LYNCH: Mulholland Drive A++
MARTIN SCORSESE: GoodFellas A+++
STEVEN SODERBEGH: Traffic A++
STEVEN SPIELBERG: Minority Report A+
QUENTIN TARANTINO: Pulp FictionA+++
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children with angels

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« Reply #21 on: June 02, 2003, 08:32:05 PM »
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GT, I'm really surprised by your blatant dismissal of the Coen Brothers there - I had no idea you had you had this, evidently intense, dislike towards them. You're someone who's opinion I respect, and I was wondering if you could elaborate a little on why you don't "care for any of their movies enough to differentiate". Maybe this isn't the place for this, but I'm genuinely interested... Are they not emotional enough for you? Too ironic? Too stylized?
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Gold Trumpet

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« Reply #22 on: June 02, 2003, 10:19:59 PM »
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Well, first off, I must admit to never seeing Barton Fink and Hudsucker Proxy and O' Brother but my view on The Man Who Wasn't There kinda sums up a lot of my feelings for the film in that it is direct photography with nothing more. The film acts on meditation where characters seem to be at some sort of stand still, but it is just for the photography. Beneath that is a story typical at best but the film is just the case of "since its from the 40s, only then do we film it black and white". Miller's Crossing also provided a typical gangster story but for some reason, they added moments of farce comedy. No believable or important reason at all. All it did was take away from the effect of power at the end the film was banking on, which is contradictory to the farce moments. Fargo was a little bearable, because it depend on some sort of story that was worth viewing, but the film just had to go down cliche road with the thinking every single person from these areas talks this way. Nothing further from the truth. I come from an area near this place and only a small minority talk that way in such a fashion. Yes, there is feelings of that voice, but not to the point where it becomes comedy with each line they say. But there is very little reason in doing this at all and sad thing, promise was in the film. The Big Lewbowski well, is the perfect cult film. Only available to the admirers of the work of the filmmakers and not able to be criticized. I promise to see more of their films, beginning with Barton Fink, but these films have provided a major annoyance to the point I can't stand them.

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aclockworkjj

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« Reply #23 on: June 03, 2003, 12:37:37 AM »
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PAUL THOMAS ANDERSON: Magnolia
WES ANDERSON: The Royal Tenenbaums  
THE COEN BROTHERS: don't really care for them
CAMERON CROWE: don't like him either...sorry
DAVID FINCHER: Se7en
STANLEY KUBRICK: Clockwork Orange
DAVID LYNCH: Lost Highway...not a huge Lynch fan though
MARTIN SCORSESE: Raging Bull...though Goodfellas....up in the air
STEVEN SODERBEGH: The Limey....shhh
STEVEN SPIELBERG: ET
QUENTIN TARANTINO: Pulp Fiction

chainsmoking insomniac

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« Reply #24 on: June 03, 2003, 08:59:47 AM »
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PTA: Hard Eight.  Before he wrote Boogie Nights and Magnolia, he wrote this gem of a movie with nothing but an ear for fantastic dialogue and these troubled characters striving for normalcy, or happiness, in their lives...

Fincher: Se7en.  Everything about that movie is just fucking great.  The lighting, the set design (in the Gluttony scene in particular, they actually greased up the walls to give it that scuzzy ambiance....) Morgan Freeman, Kevin Spacey....followed closely by The Game...

Forman: Loves of a Blonde.  Fireman's Ball.  

Scorsese: Taxi Driver.  De Niro, the Ultimate Method Actor. Everything...

Wes Anderson: Bottle Rocket, Rushmore....

A ton of others, but I'm just too fucking tired to type anymore.
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Fernando

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« Reply #25 on: June 03, 2003, 01:35:02 PM »
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PAUL THOMAS ANDERSON: PDL. He showed he can do whatever he sets to.

WES ANDERSON: The Royal Tenenbaums. Amazing screenplay.

THE COEN BROTHERS: The Man Who Wasn't There. Beautifully shot.

CAMERON CROWE: Jerry Maguire

DAVID FINCHER: Fight Club

STANLEY KUBRICK: The Shining. Because it was my introduction to his films.

DAVID LYNCH: M.Dr. Best film of this decade so far.

MARTIN SCORSESE: Goodfellas

STEVEN SODERBEGH: Kafka

STEVEN SPIELBERG: Catch me if you can

QUENTIN TARANTINO: Jackie Brown

Subotai

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« Reply #26 on: June 07, 2003, 10:19:54 PM »
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PT Anderson -Magnolia: This film is just plain brilliant. Every other person in here has expressed why I love this movie. Well Done

De Palma-Carlito's Way: De Palma's coolest movie. Pacino playing a Puerto Rican nuff said. Plus Luis Guzman is in it.

Lynch- The Straight Story- This movie made me cry.

Lucas- Empire Strikes Back- I 'm suprised this movie is not in lot of peoples list. You know you love it.

Kubrick- Dr. Strangelove- The best political comedy/satire ever made.

Coppola- The Godfather PArt II- One of the few movies that is quite long and I can watch over and over again. I'm a wanabe gangster I guess.

Jonze- Adaptation- I admit , I have fallen in love with this film.

A.H.- Vertigo- The music is brilliant, everything is brilliant.

Recent Honorable Mentions
Polanski- The Pianist
City of God
25th Hour

SHAFTR

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« Reply #27 on: June 07, 2003, 11:38:07 PM »
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PAUL THOMAS ANDERSON: Boogie Nights, I love Magnolia as well but Boogie Nights is the film of his that I could watch every day and still not get sick of it.

WES ANDERSON: The Royal Tenenbaums, probably because it is the last one I watched between it and Rushmore, I can never decide which one I enjoy most.

THE COEN BROTHERS: Fargo, maybe it's because I grew up in Northern Wisconsin.

CAMERON CROWE:  Vanilla Sky, it is the only one I own, Crowe's films lose their effect on me the more I view them.

DAVID FINCHER: Se7en, I love Fight Club too but Se7en wins out because it just seems..."tighter"

STANLEY KUBRICK: Full Metal Jacket, if you only count the first half.

DAVID LYNCH: Mulholland Dr, only Lynch film I really liked.

MARTIN SCORSESE: Taxi Driver, DeNiro's performance and how much this film still seems new.

STEVEN SODERBEGH: Traffic, to me...one of the top films of the 90s.

STEVEN SPIELBERG: Jaws, for it's historical importance.

QUENTIN TARANTINO: Pulp Fiction, I have a feeling that in time we will see it in the top 10 of Sight & Sounds list.

PS> There are a lot of films that I haven't seen.  Mainly more Scorsese, Lynch, Coen Bros and Kubrick films.
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modage

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« Reply #28 on: June 08, 2003, 12:00:34 AM »
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Quote from: SHAFTR
STEVEN SODERBEGH: Traffic, to me...one of the top films of the 90s.


traffic was released in december of 2000.

*edit technically...

December 27, 2000 (NY & LA), January 5 2001 (rest of US)
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

SHAFTR

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« Reply #29 on: June 08, 2003, 12:05:12 AM »
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Quote from: themodernage02
Quote from: SHAFTR
STEVEN SODERBEGH: Traffic, to me...one of the top films of the 90s.


traffic was released in december of 2000.

*edit technically...

December 27, 2000 (NY & LA), January 5 2001 (rest of US)


Shit!
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