INHERENT VICE (No Major Spoilers)

Started by cronopio 2, December 02, 2010, 09:51:28 AM

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wilder

Haha that head turn he does between 3 and 6 seconds "oh man where the fuck am I..."

Wish it would cut out to Jim Kurring laughing while eating cereal

Drenk

Ascension.

Frederico Fellini

Quote from: Korova on December 21, 2014, 02:30:59 PM

On Letterman there is the pancake scene with Joaquin. Couldn't find a decent video to post here,
but it's on YouTube anyway.

I looked that up. The acting in that little clip... HOLY SHIT. holy shit. I am done watching any more footage.

EDIT:




Clip is at 34:34.
We fought against the day and we won... WE WON.

Cinema is something you do for a billion years... or not at all.

Korova

So, what does the cook actually say? In the german version of the trailer he says something in Japanese, but in the english version he says something like "Got it.. You, forget it", is that right? Or am I completely wrong?

samsong

FUCKING BRILLIANT.  saw it twice this weekend (the second viewing was to indulge in the 70 mm print).  i'm in love.

there's always the compulsion to reference anything and everything in relation to a new pta movie, so: this movie felt very much in the rivette wheelhouse -- endlessly whimsical and labyrinthine narrative teeming with ideas, a marked lack of formal exuberance as a means of achieving cinema magic (it's all actors and mise-en-scene and and rhythm that's indicative of a sensibility that just understands how to cast a spell over the audience without any discernible technique), CONSPIRACIES!!!!!!, languid use of formidable running time to slowly draw the viewer further and further down the rabbit hole, and a kind of free-wheeling whimsy that, at the very least, makes the film compulsively watchable in the midst of all its denseness and elusiveness.  also thought about the big sleep by way of bunuel.  also also, really fucking funny!  i laughed more the second time than i did the first, which was a lot to begin with.

j hoberman referred to inland empire's lack of logic outside of its "movie-ness", a term i've always enjoyed, and i feel like it applies to this... and i suppose to pta's work as a whole, as his films are so informed and charged by his cinephilia.  among many things this is made by someone who just really loves and gets movies, in a way that i think is the most poignant of all his films.  more than any other film of his so far i feel that here, he's really come into his own. the master remains a muddled curiosity to me but inherent vice sees him perfect this new mode of expression. 

performances, STELLAR all around (brolin is phoenix's equal here, katherine waterston is a vision, MARTIN FUCKING SHORT, joanna newsom an inspired bit of casting), and i think this is greenwood and pta's best collaboration yet.  someone referred to this movie as a hang-out movie per tarantino's ramblings about rio bravo and dazed and confused, and while i know he uses it as a term of endearment and high praise for two of his favorite movies, it makes it seem like it has nothing else to offer, and there's just so so so much here. 

jenkins

of course i'm a guy who likes how you put it in here because you wanted to be emotional and say how much you liked it

this strikes me as oddly appropriate:

Quotethis movie felt very much in the rivette wheelhouse

both in the tonal similarities you're noting, and the fact that sitting in a theater of people watching celine and julie go boating revealed that the movie isn't crowd fun. it's not everyone's favorite thing, it's dangerous to ask the audience to do some work, and i like such kinds of danger


[edit]
referring to:
Quote from: samsong on December 22, 2014, 05:05:50 AM
FUCKING BRILLIANT.  saw it twice this weekend (the second viewing was to indulge in the 70 mm print).  i'm in love.

there's always the compulsion to reference anything and everything in relation to a new pta movie, so: this movie felt very much in the rivette wheelhouse -- endlessly whimsical and labyrinthine narrative teeming with ideas, a marked lack of formal exuberance as a means of achieving cinema magic (it's all actors and mise-en-scene and and rhythm that's indicative of a sensibility that just understands how to cast a spell over the audience without any discernible technique), CONSPIRACIES!!!!!!, languid use of formidable running time to slowly draw the viewer further and further down the rabbit hole, and a kind of free-wheeling whimsy that, at the very least, makes the film compulsively watchable in the midst of all its denseness and elusiveness.  also thought about the big sleep by way of bunuel.  also also, really fucking funny!  i laughed more the second time than i did the first, which was a lot to begin with.

j hoberman referred to inland empire's lack of logic outside of its "movie-ness", a term i've always enjoyed, and i feel like it applies to this... and i suppose to pta's work as a whole, as his films are so informed and charged by his cinephilia.  among many things this is made by someone who just really loves and gets movies, in a way that i think is the most poignant of all his films.  more than any other film of his so far i feel that here, he's really come into his own. the master remains a muddled curiosity to me but inherent vice sees him perfect this new mode of expression. 

performances, STELLAR all around (brolin is phoenix's equal here, katherine waterston is a vision, MARTIN FUCKING SHORT, joanna newsom an inspired bit of casting), and i think this is greenwood and pta's best collaboration yet.  someone referred to this movie as a hang-out movie per tarantino's ramblings about rio bravo and dazed and confused, and while i know he uses it as a term of endearment and high praise for two of his favorite movies, it makes it seem like it has nothing else to offer, and there's just so so so much here.


wilder


Fuzzy Dunlop

Some revealing nuggets in that EW article.

"Robards' trophy wife, played by Julianne Moore, overdoses on prescription drugs and is found unconscious in her car by a little boy - an incident taken from Anderson's life. 'It was the tragic story of a wife my father had late in his life,' he says."

Was this known? An unknown known? I knew he was pulling a lot from his life but didn't know about that.

Benjyosos

I cannot stop listening to Amethyst.

Garam


Frederico Fellini

 


It just looks so fucking good. Best tv spot so far.
We fought against the day and we won... WE WON.

Cinema is something you do for a billion years... or not at all.


Reel


03

is that the least peoplest one?

edit: my bad, its benedict of the bull. which has 4.