Last (x) movies you saw (II)

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Picking up from under the long white beard of this thread. We should be able to get a few years out of this one before it gets unwieldy.

Kicking off, here's my July 15th to 31st:

* The Thomas Crown Affair (Jewison, 1968) 📽️
* Bullitt (first three or four reels until the second projector broke: one had already died during Thomas Crown) (Yates, 1968) 📽️
Blade II (del Toro, 2002)
Ibiza (Richanbach, 2018) 📺
Hands Across The Table (Leisen, 1935) 📽️
* Bullitt (went back to see the latter reels) (Yates, 1968) 📽️
Leave No Trace (Granik, 2018)
Adult Beginners (Katz, 2014) 📺
The Apple (Golan, 1980)
* My Man Godfrey (La Cava,1936) 📽️
Blindspotting (Lopez Estrada, 2018)
Eighth Grade (Burnham,2018)
* Ronin (Frankenheimer, 1998) 📽️
To Live & Die In LA (Friedkin, 1985) 📽️
Across The Universe (Taymor, 2007)

The film ones were all on 35mm. The TV (streaming) ones were both bad.

16, 35, DCP, Go! (sic), Friday, 10 August 2018 17:20 (eight months ago) Permalink

what did you think of Eighth Grade & Blindspotting?

flappy bird, Friday, 10 August 2018 17:22 (eight months ago) Permalink

Deadpool 2 (4/10)
Comanche Station (7/10)
L'Amore Molesto (8/10)

An Uphill Battle For Legumes (Capitaine Jay Vee), Friday, 10 August 2018 17:28 (eight months ago) Permalink

The Counselor (Ridley Scott/Cormac McCarthy, 2013). I saw this in a theater and didn't like it much, but recently learned that the Blu-Ray included a director's cut that was 20 minutes longer. I bought it on eBay for $5 and miraculously, the long version is a really good movie! Recommended.

grawlix (unperson), Friday, 10 August 2018 18:04 (eight months ago) Permalink

Eighth Grade I've said a little about in EIGHTH GRADE (2018, written & directed by Bo Burnham, starring Elsie Fisher) , but its most remarkable achievement is the way the audience get situated right with Kayla, both through Elsie Fisher's heart-open performance and the script. Everything feels as traumatic and monumental as stresses and anxieties do at that age, there's absolutely no adult tone present framing it as "one day she'll realise how minor all this was" or "oof, remember how that used to feel"." We're totally present in the milieu, despite so many elements deliberately excluding adult perspectives.

Blindspotting has a little first-film-iness to the script, but is totally carried by the onscreen charisma and chemistry of the writers. If civilisation lasts another ten years, it'll be interesting to see how much the tech-bro-gentrification themes feel like a period piece vs a valuable snapshot of a tipping point. Right now I imagine it'd be largely baffling to non-city-dwelling audiences.

16, 35, DCP, Go! (sic), Friday, 10 August 2018 18:04 (eight months ago) Permalink

xp wait, WHAT?

mh, Friday, 10 August 2018 19:09 (eight months ago) Permalink

Yeah wow, I actually have that blu ray, maybe I’ll watch it tonight

flappy bird, Friday, 10 August 2018 19:32 (eight months ago) Permalink

Secret of the Blue Room (Neumann, 1933)
*Lost Horizon (Capra, 1937)
#A Kiss in the Dark (surviving reels) (Tuttle, 1925)
#Too Many Kisses (Sloane, 1925) (personal festival highlight)
#Your Technocracy and Mine (Benchley, 1933)
#The Mad Game (Cummings, 1933)
#We Faw Down (McCarey, 1928)
#The House That Shadows Built (unidentified Paramount drudges, 1931)
#On the Brink (Porter & Weber, 1911)
#Romola (King, 1924)
*#The Cocoanuts (Florey & Santley, 1929)
#Mamba (Rogell, 1930)
#The Circus of Life (Julian, 1917)
#The Stolen Ranch (Wyler, 1926)
#Princess Lady Bug (Barker, 1930)
#The Storm (Wyler, 1930)
*#Brats (Parrott, 1930)
#Bulldog Drummond Strikes Back (Del Ruth, 1934)
#A Daughter of the Law (Cunard, 1921)
#The Night of Love (Fitzmaurice, 1927)
#Television Highlights (Schwarzwald, 1936)
#School for Swing (Schwarzwald, 1937)
#It's Great To Be Alive (Werker, 1932)
*#The Coming of Sunbeam (Guy, 1913)
#Twenty Dollars a Week (Weight, 1924)
#Ed Sullivan's Headliners (Schwarzwald, 1934)
#Her First Mate (Wyler, 1933)
#Call of the Cumberlands (Lloyd, 1916)
#The Rescue (Brenon, 1929)

#Capitolfest 16, or J.Lu Yet Again Is Reminded that Not All Silent and Pre-Code Films Are Classics.

Polly of the Pre-Codes (j.lu), Monday, 13 August 2018 12:19 (eight months ago) Permalink

celebrating the new thread with some all timers (uk folks nuts in may is back on the iplayer!)

Late Autumn (Ozu, 1960) 9/10
Diary of a Country Priest (Bresson, 1951) 10/10
Pickpocket (Bresson, 1959) 9/10
* Nuts in May (Leigh, 1976) 8/10
* Love and Friendship (Stillman, 2016) 7/10
Hereditary (Aster, 2018) 5/10
Ordet (Dreyer, 1955) 10/10

devvvine, Monday, 13 August 2018 12:23 (eight months ago) Permalink

I don't log short films like j.lu does, but I saw about 8 Sadie Benning videos (made in Pixelvision) that I last watched about 25 years ago; most of those would be 8-10/10.

Three Faces West (1940, Vorhaus) 6/10
*My Beautiful Laundrette (1985, Frears) 8/10
Flat Is Beautiful (1998, S Benning) (50min) 5/10
Swallow (1995, Subrin) (28min) 7/10
The Lovers of Montparnasse (1958, Becker) 9/10
The Young Savages (1961, Frankenheimer) 5/10
Another Girl, Another Planet (1992, Almereyda) (56min) 6/10
Wake of the Red Witch (1948, Ludwig) 7/10
A Girl’s Folly (1917, M Tourneur) 7/10
Gavagai (2016, Tregenza) 4/10
Les Amis (1971, Blain) 5/10

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Monday, 13 August 2018 17:10 (eight months ago) Permalink

I'd suggest you watch more Davies as prep than Frears, but don't want to prescribe any other TV while yr still not moving forward on Twin Peaks

16, 35, DCP, Go! (sic), Monday, 13 August 2018 17:56 (eight months ago) Permalink

Russell T. Davies, the writer of A Very British Scandal. Roughly every second of his works deals with different facets of men-attracted-to-men negotiating a homosociality within heteronormative culture - Very British Scandal is the first that is a period piece, rather than directly contemporary.

Cucumber, his previous main project (eight episodes, twinned with another series called Banana, and a docoseries called Tofu, all named for the hardness of erections), was the best thing he's done ime.

16, 35, DCP, Go! (sic), Monday, 13 August 2018 18:54 (eight months ago) Permalink

Laundrette's focus on gay stuff is at most 33%.

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Monday, 13 August 2018 19:05 (eight months ago) Permalink

I just figured Frears was on yr slate because you'd said you were planning to watch Brit Scandal; to me he's a director who is efficient in service of a script's tone and agenda, rather than having an authorial throughline or preoccupations that can be tracked through his work.

16, 35, DCP, Go! (sic), Monday, 13 August 2018 19:30 (eight months ago) Permalink

if you watch the Laundrette Criterion supplements, he denies being an auteur while his producer insists that he is. Frears does say he considers his string from The Hit thru The Grifters to be a reaction to Thatcherism.

I'm not actually likely to watch that scandal show anytime soon... always drowning in things to watch.

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Monday, 13 August 2018 19:47 (eight months ago) Permalink

Frears otm! The Grifters as the end of Thatcher reactions, vs the good first step into a bad period of Americana, is interesting, would be curious to rewatch with that in mind.

("gay stuff" is only 7% of AVBS at most, except for how the closet is the driver for every bad action across the fifteen years or so it covers. fascinatingly handled, re. it being a period piece, is how no "character" in it identifies as gay, it's not even an option to consider: those who come out to each other instead compare to what point their bedroom preference is for which gender, how much marriage is a thing they genuinely value vs are having to take on for optics, etc.)

16, 35, DCP, Go! (sic), Monday, 13 August 2018 20:35 (eight months ago) Permalink

Mississippi (2015), streaming on Netflix - 36/42

braunld (Lowell N. Behold'n), Monday, 13 August 2018 20:48 (eight months ago) Permalink

*Mississippi Grind

braunld (Lowell N. Behold'n), Monday, 13 August 2018 20:48 (eight months ago) Permalink

xp I’m not sure what I think of A Very English Scandal. It had a breezy quality, but it was in a very different key than I was expecting.

I loved how lizard-like Hugh Grant was, though. Was he wearing contacts? because there was something very creepy about his black irises

Dan S, Monday, 13 August 2018 20:58 (eight months ago) Permalink

OK, I had no idea Frears directed A Very English Scandal (u have to spell things out, sic) -- because why would I? I haven't seen anything of his since Dirty Pretty Things in 2002. Then he started doing all that Peter Morgan royal shite.

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Monday, 13 August 2018 21:09 (eight months ago) Permalink

Dream Tower (7.0)
Our Nixon (7.5)
20th Century Women (9.0)
Eighth Grade (6.5)
Demon Seed (5.5)
Quadrophenia (7.5)
McQueen (6.0)
Ocean’s Eight (4.0)
BlacKkKlansman (7.0)
A Stranger Among Us (6.5)

The last one is a late Lumet I saw at the time and completely forgot about. Relatively low key for him. Explicitly quotes from Hud when Melanie Griffith says "I already put in time with one cold-hearted bastard, I'm not looking to find another one." Good one for that last-line-should-have-been-the-title thread: Ask Your Rabbi.

clemenza, Tuesday, 14 August 2018 02:46 (eight months ago) Permalink

Mission Impossible (Christopher McQuarrie, 2018) - yup, that's how badly my year is going.

xyzzzz__, Tuesday, 14 August 2018 12:37 (eight months ago) Permalink

It was fun etc.

xyzzzz__, Tuesday, 14 August 2018 12:37 (eight months ago) Permalink

I forgot to note earlier how amused I was that it was j.lu who pitched for an Electric Boogaloo subtitle on the new thread.

16, 35, DCP, Go! (sic), Wednesday, 15 August 2018 03:02 (eight months ago) Permalink

/The Counselor/ (Ridley Scott/Cormac McCarthy, 2013). I saw this in a theater and didn't like it much, but recently learned that the Blu-Ray included a director's cut that was 20 minutes longer. I bought it on eBay for $5 and miraculously, the long version is a really good movie! Recommended.


I think I’ve only seen the director’s cut and I don’t think I’d ever quite call it “really good” but it’s certainly one of the darkest, weirdest movies I’ve seen involving ppl of that high profile.

Would watch again to be sure.

circa1916, Wednesday, 15 August 2018 03:09 (eight months ago) Permalink

last batch for a while

Twin Peaks: Fire Walk With Me (David Lynch, 1992) - 10/10
Heat (Michael Mann, 1995) - 9/10
Monsieur Hulot’s Holiday (Jacques Tati, 1953) - 8/10
This Happy Breed (David Lean, 1944) - 8/10
Ordinary People (Robert Redford, 1980) - 7/10
Fantastic Planet (René Laloux, 1973) - 3/10

flappy bird, Wednesday, 15 August 2018 03:53 (eight months ago) Permalink

China Gate (Fuller)
The Search (Zinnemann)
From Here to Eternity (Zinnemann)
A Man for All Seasons (Zinnemann)
The Longest Day (Annakin, Marton & Wicki)
The Army of Crime (Guédiguian)
La Vie en Rose (Dahan)
Grace of Monaco (Dahan)
Cop (A. Refn)
Once a Cop... (A. Refn)
R (Noer & Lindholm)
Key House Mirror (Noer)*
A Hijacking (Lindholm)*
A War (Lindholm)*
A Second Chance (Bier)
Summer With Monika (Bergman)
Sawdust and Tinsel (Bergman)
Smiles of a Summer Night (Bergman)
The Virgin Spring (Bergman)
Morvern Callar (Ramsay)
We Need to Talk About Kevin (Ramsay)
Katalin Varga (Strickland)
For Those in Peril (Wright)*
Hyena (Johnson)
Ex Machina (Garland)
Beast (Pearce)
Under the Skin (Glazer)
Her (Jonze)
Lucy (Besson)
Ghost in the Shell (Sanders)

Frederik B, Wednesday, 15 August 2018 08:19 (eight months ago) Permalink

All 3.5/5:
True Stories (1986)
Blackkklansman
Won’t You Be My Neighbor?
The Lost City of Z

Chris L, Wednesday, 15 August 2018 10:33 (eight months ago) Permalink

Mission Impossible Fallout (McQuarrie, 2018) 8/10
the Happy Prince (Everett, 2018) 7/10
Yellow Submarine ( Dunning, 1968) 8/10
Unseeworld U.S.A (Fuller, 1960) 7/10
The Last Emperor (Bertolucci, 1987) 6/10
Paddington 2 (King, 2017) 9/10
Hostiles (Cooper, 2017) 7/10

Dan Worsley, Wednesday, 15 August 2018 22:00 (eight months ago) Permalink

Um, Underworld U.S.A. that should be.

Dan Worsley, Wednesday, 15 August 2018 22:01 (eight months ago) Permalink

Gone With the Wind (1939) 7.5/10
Iron Man (2008) 7/10
Tangerine (2015) 8/10

Scape: Goat-fired like a dog! (Myonga Vön Bontee), Friday, 17 August 2018 19:26 (eight months ago) Permalink

bunch of airplane streaming on the way to and from berlin, the only one i'd seen before is philadelphia story:

all about eve (mankiewicz, 1951) 10/10
paddington 2 (king, 2017) 8/10
rocky (avildsen, 1976) 8/10
the philadelphia story (cukor, 1940) 9/10
happy death day (landon, 2017) 6/10
inside out (docter, 2015) 8/10

princess of hell (BradNelson), Friday, 17 August 2018 19:47 (eight months ago) Permalink

honestly happy death day was surprisingly enjoyable for what it was

princess of hell (BradNelson), Friday, 17 August 2018 19:48 (eight months ago) Permalink

the gospel of the bear film has reached the troposphere

16, 35, DCP, Go! (sic), Friday, 17 August 2018 20:25 (eight months ago) Permalink

lol

princess of hell (BradNelson), Friday, 17 August 2018 21:23 (eight months ago) Permalink

The Raid: Redemption (Evans, 2011) 6
Mission: Impossible Fallout (McQuarrie, 2018) 7
Disney Christopher Robin (Marc Forster, 2018) 4
Marwencol (Jeff Malmberg, 2010) 8
Icarus (Bryan Fogel, 2017) 8

adam the (abanana), Friday, 17 August 2018 21:58 (eight months ago) Permalink

read that marwencol has been adapted & now will have steve carell in it

johnny crunch, Friday, 17 August 2018 23:27 (eight months ago) Permalink

yeah I watched it because i saw the trailer for the zemeckis movie. The trailer makes it out to be an "inspirational" true story but it's not really, not exactly.

adam the (abanana), Saturday, 18 August 2018 00:50 (eight months ago) Permalink

baby driver (2017 edgar wright) 6.5/10
mollys game (2017 sorkin) 2/10
suburbicon (2017 clooney) 2/10
the killing of a sacred deer (2017 lanthimos) 6/10
angelo my love (1983 duvall) 3/10
eighth grade (2018 burnham) 8/10
thoroughbreds (2018 cory finley) 4/10

johnny crunch, Saturday, 18 August 2018 01:30 (eight months ago) Permalink

thoroughbreds (2018 cory finley) 4/10

I don't do the out of 10 thing but I'd give this at least a 6. It made me laugh a lot.

grawlix (unperson), Saturday, 18 August 2018 01:34 (eight months ago) Permalink

lil too try hard idk

johnny crunch, Saturday, 18 August 2018 01:38 (eight months ago) Permalink

*The Naked Spur : 7/10
Vampire's Kiss : 6/10
Dying Of the Light (Paul Schrader Edit): 7/10 -- only 7/10 because Nic Cage is in full on weirdo mode and Schrader's noodling around on Final Cut. The doctor accent is...wow...almost as great as the accent in "Vampire's Kiss"
*The Young One: 7/10 - minor Buñuel for me but still great

An Uphill Battle For Legumes (Capitaine Jay Vee), Saturday, 18 August 2018 13:19 (eight months ago) Permalink

Crazy Rich Asians – kind of a riff on Philadelphia Story, but with better-looking people. Lots of film history embedded in it.

remy bean, Saturday, 18 August 2018 20:10 (eight months ago) Permalink

What Price Jazz (Baerwitz, 1934)
Felix Gets Broadcasted (Messmer, 1923)
High Flyers (Cline, 1937)
Inflation (Myers, 1933)
Felix in Fairyland (Messmer, 1923)
*Roast-Beef and Movies (Baerwitz, 1934)
*Big City Fantasy (Henabery, 1934)
The Magician (Bergman, 1958)
BlacKkKlansman (Lee, 2018)
Smiles of a Summer Night (Bergman, 1955)

Polly of the Pre-Codes (j.lu), Sunday, 19 August 2018 23:50 (seven months ago) Permalink

Re-watching Whit Stillman's Barcelona tonight.

grawlix (unperson), Tuesday, 21 August 2018 01:43 (seven months ago) Permalink

I was hoping for good things from Crazy Rich Asians, but found it fairly bland. I may have had the wrong expectations for a mainstream PG rom-com, but I felt like it needed sharper jokes.

jmm, Tuesday, 21 August 2018 15:02 (seven months ago) Permalink

kind of a riff on Philadelphia Story, but with better-looking people

!!! I'm sure this cast looks fine, but you are aware that Cary Grant and Kate Hepburn were considered pretty attractive, right?

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Tuesday, 21 August 2018 15:27 (seven months ago) Permalink

in theaters July 26 - August 22

Killer’s Kiss (Stanley Kubrick, 1955) - 6/10
Summer Interlude (Ingmar Bergman, 1951) - 9/10
Eighth Grade (Bo Burnham, 2018) - 8/10
Three Identical Strangers (Tim Wardle, 2018) - 6/10
Blindspotting (Carlos López Estrada, 2018) - 7/10
Teen Titans Go! To the Movies (Peter Rida Michail, Aaron Horvath, 2018) - 3/10
BlacKkKlansman (Spike Lee, 2018) - 9/10

flappy bird, Thursday, 23 August 2018 04:39 (seven months ago) Permalink

Finally caught LET THE SUNSHINE IN and the end credits placement was the highlight.

Simon H., Monday, 1 April 2019 07:37 (two weeks ago) Permalink

March:

The Heartbreak Kid (May, 1972) 8/10
The Sect (Soavi, 1991) 7/10
Black God, White Devil (Rocha, 1964) 7/10
Caught (Ophuls, 1949) 7/10
The Snorkel (Green, 1958) 6/10
Jeremiah Johnson (Pollack, 1972) 8/10
It Happened One Night (Capra, 1934) 8/10
Stromboli (Rossellini, 1950) 9/10
The Marriage of Maria Braun (Fassbinder, 1979) 9/10
Captain Marvel (Fleck & Boden, 2019) 6/10
Night of the Big Heat (Fisher, 1967) 5/10
The Swimmer (Perry, 1968) 8/10
The Roaring Twenties (Walsh, 1938) 8/10
Cape Fear (Thompson, 1962) 8/10
The Fall of the Roman Empire (Mann, 1964) 7/10
Arsenic and Old Lace (Capra, 1944) 7/10
Beauty and the Beast (Cocteau, 1946) 7/10
City of the Living Dead (Fulci, 1980) 7/10
Real Life (Brooks, 1979) 9/10
No Blade of Grass (Wilde, 1970) 7/10
The Strange Vice of Mrs Wardh (Martino, 1971) 8/10
The Mephisto Waltz (Wendkos, 1971) 7/10

Ward Fowler, Monday, 1 April 2019 08:08 (two weeks ago) Permalink

The Right Stuff (1983) 4/5
The Beaches of Agnes (2008) 5/5
Trouble Every Day (2001) 3/5
9 to 5 (1980) more like 3/5
Us (2019) 3.5/5
The Inventor: Out for Blood in Silicon Valley (2019) 3/5
Shampoo (1975) 3/5
Hale County This Morning, This Evening (2018) 3/5
Full Contact (1992) 3.5/5
The Loved One (1965) 2/5
The Magician (1958) 3.5/5
* Inherent Vice (2014) 4/5
Let the Sunshine In (2017) 3/5

Chris L, Monday, 1 April 2019 09:30 (two weeks ago) Permalink

Diane is highly, highly recommended; found it really honest and deeply moving. Place deserves an Oscar nomination.
Saw it in preview, followed by an hourlong conversation with the director and Scorcese about movies in general and was reminded that New Yorkers will literally walk out on ANYTHING

Fuck the NRA (ulysses), Monday, 1 April 2019 14:32 (two weeks ago) Permalink

xxxxpost wait WHAT Willard Huyck and Gloria Katz were involved in Mission Impossible???

You guys are caterpillar (Telephone thing), Monday, 1 April 2019 15:10 (two weeks ago) Permalink

March:

Leaving Neverland (2019) 6/10
Mike and Dave need Wedding Dates (2016) 5/10
Danger: Diabolik (1968) 8/10
Filmworker (2017) 6/10
Shoplifters (2018) 7/10
The Gospel according to Matthew (1964) 7/10
*Darkman (1990) 5/10
Dragged Across Concrete (2019) 8/10
The Dirt (2019) 4/10
The Intern (2016) 6/10
The Double Life of Veronique (1991) 6/10
Umberto D (1952) 8/10
Poitin (1978) 7/10
Thunderbolt and Lightfoot (1974) 7/10
The Other Side of The Underneath (1972) 6/10
My Scientology Movie (2015) 5/10

. (Michael B), Monday, 1 April 2019 15:30 (two weeks ago) Permalink

probably the least involved in anything that made it to screen. DePalma basically ended up inventing the way McQuarrie makes them now: “I have three setpieces in different global locations figured out, Tom just had a new idea for one scene, nobody likes any of the scripts but I know Robert Towne’s phone number and we have a release date so let’s start shooting”

steven, soda jerk (sic), Monday, 1 April 2019 16:03 (two weeks ago) Permalink

MUBI:

Portrait of a Lady (Campion, 1996) - Really good adaptation. Like it does things -- with Nicole Kidman's face, with the cast and locations -- and it possibly gets at the narrative difficulty present in James' novels (lol I just couldn't quite follow beyond surface detail...brain undergoing a meltdown, I just can't watch demanding fare on TV anymore). I think there is a correspondence with Dangeours Liaisons (in a very light way, mainly because Malkovich is in this).
Detour (Ulmer, 1945) - hilarious noir. Ann Savage is...savage as the fatale and the monologue on this is totally fucked up.

Cinema:
Us (Peele, 2018)
There's Always Tomorrow (Sirk, 1956) - loved the script and Stanwyck turning around on the adulterous husband's children was A+. With the final -- totally artificial -- line, and you can see what Fassbinder saw in him.

xyzzzz__, Monday, 1 April 2019 16:48 (two weeks ago) Permalink

Heddy Honigmann's "Buddy" was honest, sweet, insightful and occasionally jaw dropping in terms of how outrageously capable the profiled animals are. Probably worth a watch on the big screen if you can, if only for the extreme cuteness. My friend and I were literally the only people in the theater tonight; first time that's ever happened to me.
https://www.youtube.com/watch?v=-xQjL-hmPiA

Fuck the NRA (ulysses), Tuesday, 2 April 2019 06:22 (two weeks ago) Permalink

Hudson Hawk - still feels like it could have been something delightful if Willis hadn't caught lead singer disease, and Danny Aiello knew he was in the same movie most of the cast and crew were making, and Andie McDowell was an actress (nb: she's great in MMXXL), etc etc. 3/10 as a coherent film, 6/10 for the ambulance chase and the singing heist gag and Sandra Bernhard attempting t carry the entire flick on her shoulder pads

The Player - holds up, failed to resurrect Young MC's career after "Keep It In Your Pants." 8/10

Todos lo saben - a thriller with no twists that might have held up at 90 minutes, but takes two and a half. a film starring Javier Bardem and Penelope Cruz, set in wine country, that chooses to contain only 0.01% horniness is squandering its resources. 3/10

Climax - my first Noé, watched for the soundtrack, and was totally worth it. takes those moments in a night, especially on a come-up, that feel like everything might turn disturbing, and makes a horror movie out of them -- with, just like IRL, enough flickers of fun and dance that you keep riding through it. 8/10 for the ride, 9.2/10 for the choreo bits.

Izzy Gets The Fuck Across Town - amiable One Bad Work Day caper that makes the most of getting a bunch of character stars for a day's shoot each. 6/10

Mission: Impossible - coming back to this after one TV viewing 21 years ago, and watching/rescreening some BDP horrors last Halloween, it's a ride to see just how DePalma-y he made a slick blockbuster action film (and Snake Eyes totally plays as a B-side to it). 7/10

Us - lol at the opening being a stack of clue-giving VHSes around a 4:3 TV playing exposition, just like Climax. production design seems packed with references designed for VHS, too, where you'd rewatch before returning to maximise your rental, or get it out again periodically with the same group. 8/10

Dottie Gets Spanked - half-hour TV film about TV, and mediating one's identity through culture in lieu of IRL referents to your internal life. 7/10

(also started watching this on Kanopy: THE AMAZING ADVENTURE OF MARCHELLO THE CAT is the first-ever live feature with a cast of real cats and was heartwarmingly filmed over six years, from the cats' point of view--eight inches from the ground. Turned out to literally be cat videos shot on VHS and edited together with very bad dialogue dubbed over the top, by real Hollywood actors, shouting. Finished it off later with the sound off and a podcast on bcz once you watch 2 seconds of a Kanopy stream, you've used one of your 5 for the month. At 67 minutes, it's a cut-down version of a 76-minute 2008 DTV called A Cat's Tale. 0/10)

blokes you can't rust (sic), Tuesday, 2 April 2019 18:03 (two weeks ago) Permalink

Us - lol at the opening being a stack of clue-giving VHSes around a 4:3 TV playing exposition, just like Climax. production design seems packed with references designed for VHS, too, where you'd rewatch before returning to maximise your rental, or get it out again periodically with the same group. 8/10

I remember C.H.U.D. was one, what were the others?

Evans on Hammond (evol j), Tuesday, 2 April 2019 18:04 (two weeks ago) Permalink

Huh, I was really up for climax but found it quite disappointing iirc, loved the soundtrack and dancing and the slow shift into wrongness but found the last half hour, 45 mins, whatever of arseholes writhing around while the camera goes wOoOoOooOoo really dull

A funny tinge happened on the way to the forum (wins), Tuesday, 2 April 2019 18:14 (two weeks ago) Permalink

a lot of people told me to see Climax, one said "it's not so much a film as it is a ride" - pass

flappy bird, Tuesday, 2 April 2019 18:23 (two weeks ago) Permalink

I remember C.H.U.D. was one, what were the others?

― Evans on Hammond (evol j), Tuesday, April 2, 2019 11:04 AM (sixteen minutes ago) Bookmark Flag Post Permalink

the man with two brains, goonies, the right stuff, nightmare on elm street

jolene club remix (BradNelson), Tuesday, 2 April 2019 18:24 (two weeks ago) Permalink

Todos lo saben - a thriller with no twists that might have held up at 90 minutes, but takes two and a half. a film starring Javier Bardem and Penelope Cruz, set in wine country, that chooses to contain only 0.01% horniness is squandering its resources. 3/10

I've been waiting for this to show up for rent on Amazon. Now that I know it's that long I'm substantially less interested. Did you see the movie with Bardem as Pablo Escobar and Cruz as the Colombian TV journalist he had a years-long affair with? It's not bad. His accent is way better than hers - she doesn't even try.

grawlix (unperson), Tuesday, 2 April 2019 19:31 (two weeks ago) Permalink

I didn't.

found the last half hour, 45 mins, whatever of arseholes writhing around while the camera goes wOoOoOooOoo

fair! for me it goes from the first half of dancers bonding & interacting as people, and the camera staying almost still to capture moments of their incredible control of their bodies, into a second half of the people losing control of everything, and the camera in constant questing motion w/ them only existing relative to it. flip of a coin, dark side of the moon.

I would have enjoyed 90 minutes of dance and a proper club soundsystem better, for sure, but that's probably the case for any film.

blokes you can't rust (sic), Tuesday, 2 April 2019 19:51 (two weeks ago) Permalink

Well as ever when my reaction to a film is out of step with ilx’s, I doubt myself and want to see it again. I did give it props for capturing the essence of a bad trip, which ime = nightmarish + boring

A funny tinge happened on the way to the forum (wins), Tuesday, 2 April 2019 23:43 (two weeks ago) Permalink

Thriller: A Cruel Picture (Vibenius) 8/10
Der Todesking (Buttgereit) 7/10
Gummo (Korine) 7/10
The Terrorizers (Yang) 8/10
Certified Copy (Kiarostami) 9/10
Drug War (To) 7/10
Running in Madness, Dying in Love (Wakamatsu) 7/10
Goodbye, Dragon Inn (Tsai) 6/10
The Killing of a Chinese Bookie (Cassavetes, 1978 cut) 8/10
Le vent de la nuit (Garrel) 9/10

groovemaaan, Saturday, 6 April 2019 13:04 (one week ago) Permalink

Scott Walker: 30 Century Man (2006, Kijak) 6/10
God Told Me To (1976, Cohen) 6/10
The Mechanic (1972, Winner) 4/10
*The Most Dangerous Game (1932, Schoedsack, Pichel) 7/10
Genesis (2018, Lesage) 7/10
Projections of America (2014, Miller) 7/10
The Wild Horse Stampede (1926, Rogell) 6/10
*Shampoo (1975, Ashby) 9/10
Indiscreet (1958, Donen) 6/10
Birds of Passage (2018, Guerra, Gallego) 7/10

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Saturday, 6 April 2019 15:04 (one week ago) Permalink

Re-watched Kaufman's Invasion of the Body Snatchers again last night. Now that's what I call a PG-rated movie!

grawlix (unperson), Saturday, 6 April 2019 15:15 (one week ago) Permalink

The 10th Victim (1965, Petri)- didn't like this as much as I was expecting to, to be honest. The production design and costumes are incredible (in particular Mastroianni's bleach job and use of sunglasses to cover incredibly exhausted-looking eyes, and his wife's creepy lack of eyebrows), it incorporates Rome as a setting remarkably well, but it also feels weirdly static and stagey and Petri's recurring themes feel blunted by some retrograde gender politics. Still liked it, and I'll rewatch it at some point (it's becoming obvious that I need to do a Mastroianni-focused deep dive; besides, it's a gorgeous film to look at)

Surfer: Teen Confronts Fear (2017, a certifiable fucking lunatic)- I'd read a Vice article about this but I was totally unprepared to see it as a screening choice at Philly's Psychotronic Film Society. I haven't seen any of them- no, not even The Room; I keep meaning to make it to a midnight show but not really caring enough- but it feels of a piece with the Neil Breen/Wiseau kind of B-movie where it's an ego-stroking star vehicle for one man's very dubious talents. Here it's nominally to show off writer/director/goddamn maniac Greg Burke's son Sage and his surfing skills (approximately 40% of the movie is GoPro footage of Sage surfing) but Sage either cannot or does not care to act- fair- and Greg just eats the scenery, just shoveling handfuls of it into his mouth and flailing and shouting and making a goddamn fool of himself, including a TWELVE

MINUTE

MONOLOGUE conducted in a single take with no cuts or camera movement, with several obviously flubbed lines left in (I listened to as much as I could take of the Projection Booth episode on this thing and Burke revealed that he regularly used cue cards, asking someone to move them around in his and Sage's line of sight to make their performances seem more natural; it works about as well as you'd think). Full of bizarre violations of film language throughout, ranging from the static no-cuts approach to a totally unmotivated flurry of cuts in a totally unnecessary scene featuring a character who has no lines and no import; a badly green-screened background that includes the same loop of footage with the same seagull swooping towards the camera three times; the most egregious continuity error I have *ever* seen in a film...it's a treat if you can see it with an audience, but sitting through it solo would be absolute hell

*A Fistful of Dollars (Leone, 1964)- I haven't watched this in years but it's still shockingly great. It's definitely the first time I've watched it knowing who Gian Maria Volonte is; having a better idea of his persona made the antagonist that much easier to care about, though the other crime family remains weirdly underdeveloped. I hadn't seen this on anything but the ancient, kind of shitty MGM dvd, and this is the first time I've really seriously tried to get into spaghetti westerns, so I didn't know about Monte Hellman's bizarre prologue for network TV, starring Harry Dean Stanton and the back of someone who's about six inches shorter than Clint Eastwood, and saved from oblivion by one very dedicated fan who took out a bank loan to buy a Betamax recorder for $1500 in 1977 for the express purpose of recording Fistful.

Knife in the Water (Polanski, 1962)- Criterion's (assuming that's the version Kanopy uses) subtitles for this are absolute dogshit, fwiw; the general ethos seems to be if lines are short enough or their content can be reasonably guessed at from context, there's no need to bother, which makes tracking conversations understandably difficult. Anyway: ground zero for Skolimowski as well as for Polanski the feature director, some great deep focus cinematography, Krzysztof Komeda rules (and is dearly missed in the next Polanski film on my list), Polanski is fucking scum but at least his films aren't banal pastiche like Woody Allen's

A Quiet Place in the Country (Petri, 1968)- This is brilliant and shockingly underappreciated. I knew virtually nothing going in- just the cast, principal crew (Petri, Morricone and Gruppo di Improvvisazione Nuova Consonanza, cinematographer Luigi Kuveiller, who also shot Deep Red) and very misleading poster and tagline, which led me to expect some kind of revenge/captivity thriller- but its closest relatives are things like The House With Laughing Windows (Quiet Place's tenuously "giallo" elements are closer to Avati's film, where the trauma isn't so much Freudian as it is that left by fascism), as well as Petri's own Investigation of a Citizen etc (with its unhinged male lead and hallucinatory/delusional elements). Highest possible recommendation, and it doesn't hurt that Franco Nero and Vanessa Redgrave are one of the most attractive screen couples I've ever seen.

M*A*S*H (Altman, 1970)- I had never seen this! Altman is something of a blind spot for me still; The Long Goodbye and Brewster McCloud are some of my favorite films of all time, and I have a little mini-festival lined up at home based on an article by Samm Deighan for Diabolique lining up his gothic/"women's pictures" influenced films (That Cold Day in the Park, Images and 3 Women) but my first was Gosford Park, which would've been a poor point of entry even if it hadn't been during one of the deepest depressions I've ever experienced. MASH, though: problematic, sure, also super fucking funny and an interesting test of the Truffaut chestnut about war films. And again, just really, really goddamn funny; Sutherland or Gould are usually enough for me to check out a film on their own but they're unstoppable as a comedy duo.

Repulsion (Polanski, 1965)- On my to-watch list for over a decade and finally done; left me surprisingly cold compared to, say, The Tenant (which remains my favorite Polanski film). Remarkably empathetic toward its protagonist coming from a rapist. To be totally honest this was watched more for context for other films (the Altman trio mentioned above, Jose Larraz's Whirlpool and Symptoms) than on its own terms, which is probably a factor in how cold it left me. It's still an achievement and a landmark and etc, just not doing it for me this morning.

You guys are caterpillar (Telephone thing), Saturday, 6 April 2019 19:00 (one week ago) Permalink

Polanski is fucking scum but at least his films aren't banal pastiche like Woody Allen's

Username officially up for grabs.

grawlix (unperson), Saturday, 6 April 2019 20:54 (one week ago) Permalink

Remarkably empathetic toward its protagonist coming from a rapist

expecting (or ruling out) this kind of correspondence in art is childish

Annie Hall is not a banal pastiche

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Sunday, 7 April 2019 04:03 (one week ago) Permalink

Baby Driver. Loved it.

nathom, Sunday, 7 April 2019 07:53 (one week ago) Permalink

Watched that last night too. It took me a while to get to it because I expected the focus on the soundtrack to be way too cutesy, but it actually wasn't, and as a crime movie and a car chase movie it was better than I expected.

grawlix (unperson), Sunday, 7 April 2019 14:17 (one week ago) Permalink

Guilty as charged. It's been a rough few viewing weeks trying to reconcile my ability to enjoy work by Klaus Kinski and Polanski; I'll absolutely concede that Annie Hall is a good (or even great) film and I'm taking that unease out on the easiest/most socially acceptable target. I'd still rather watch video of my own upcoming sinus surgery than ever see Shadows and Fog again.

You guys are caterpillar (Telephone thing), Sunday, 7 April 2019 17:59 (one week ago) Permalink

The Working Man (Adolfi, 1933)
I'll Be Suing You (Meins, 1934)
Time on My Hands (Fleischer, 1932)
Open All Night (Bern, 1924)
The Delicious Little Devil (Leonard, 1919)
The Blacksmith (Keaton & St. Clair)
*The Black Pirate (Parker, 1926)

Anne Hedonia (j.lu), Monday, 8 April 2019 01:11 (one week ago) Permalink

Limelight (Chaplin, 1952) - 7/10
*Melancholia (Von Trier, 2011) - 8/10
*Le Gai Savoir (Godard, 1969) - 6/10
Titicut Follies (Wiseman, 1967) - 9/10
*The Last Picture Show (Bogdanovich, 1971) - 10/10
Saute ma ville (Akerman, 1968) - 9/10
Only Angels Have Wings (Hawks, 1939) - 8/10
The Music Room (Ray, 1958) - 8/10
Trances (Maanouni, 1981) - 7/10
La Pointe Courte (Varda, 1955) - 7/10
Cléo from 5 to 7 (Varda, 1962) - 9/10
Mikey and Nicky (May, 1976) - 9/10
*Ici et Ailleurs (Godard, 1976) - 9/10
Modern Times (Chaplin, 1936) - 10/10
Red River (Hawks, 1948) - 9/10
High School (Wiseman, 1968) - 10/10
Who Are You, Polly Maggoo? (Klein, 1967) - 7/10
Tokyo Chorus (Ozu, 1931) - 5/10
Mr. Freedom (Klein, 1968) - 8/10
Kamikaze 1989 (Gremm, 1982) - 7/10
Dial H for Hitchcock (Haimes, 1999) - 9/10
Histoire(s) du Cinéma (Godard, 1988-1998) - 10/10
Ministry of Fear (Lang, 1944) - 8/10
Rio Grande (Ford, 1950) - 7/10
Law and Order (Wiseman, 1969) - 10/10
*Au Hasard Balthazar (Bresson, 1966) - 10/10

flappy bird, Monday, 8 April 2019 05:48 (one week ago) Permalink

Unperson, completely agree!

nathom, Monday, 8 April 2019 06:09 (one week ago) Permalink

Synecdoche, N.Y. (Kaufman, 2008)
The Favourite (Lanthimos, 2018)
The Heart of the World (Maddin, 2000)
Manuelle Labor (Losier, Maddin, 2007)
Windows (Greenaway, 1974)
The Raid (Evans, 2011)
Us (Peele, 2019)
The Fabulous Baron Munchausen (Zeman, 1962)
The Highwaymen (Hancock, 2019)
Shoplifters (Kore-eda, 2018)
Lick the Star (Coppola, 1998)
*L'opéra-mouffe (Varda, 1958)
24 Frames (Kiarostami, 2017)

ILX Halftime Shows Ranked — Which Was the Best? (WmC), Tuesday, 9 April 2019 01:53 (one week ago) Permalink

continuing to watch some 70s disaster movies:
The Hindenburg (Wise, 1975) 6/10
The Big Bus (Frawley, 1976) 4/10
The Swarm (Irwin Allen, 1978) extended version, 3/10, entertainingly bad
Meteor (Neame, 1979) 3/10 just a terrible idea

misc:
Source Code (Duncan Jones, 2011) 7/10
ARQ (Tony Elliott, 2016) 7/10, can't get enough of these time loop stories recently
Cold Pursuit (Moland, 2019) 7/10, much better than I expected
Free Solo (Chin, 2018) 8/10
Meru (Chin 2015) 7/10

adam the (abanana), Tuesday, 9 April 2019 02:19 (one week ago) Permalink

*Get Out (Peele, 2017) 6/10
Bright Future (Kurosawa, 2002) 6/10
Us (Peele, 2019) 4/10
No Man of Her Own (Leisen, 1950) 6/10
Black Panthers (Varda, 1968) 8/10
*Orlando (Potter, 1992) 9/10
Johnny Guitar (Ray, 1954) 10/10
Inland Sea (Soda, 2018) 7/10
*The Green Ray (Rohmer, 1986) 10/10
Light (Tsai, 2018) 6/10
Your Face (Tsai, 2018) 8/10
The Skywalk Is Gone (Tsai, 2002) 7/10
No No Sleep (Tsai, 2015) 8/10
Autumn Days (Tsai, 2016) 5/10
Goodbye, Dragon Inn (Tsai, 2003) 9/10
Afternoon (Tsai, 2015) 7/10
Detour (Ulmer, 1945) 8/10
The Deserted (Tsai, 2017) 7/10

devvvine, Tuesday, 9 April 2019 10:43 (one week ago) Permalink

Bel Ami
2012 version of a 1885 novel by Guy de Maupassant which I picked up and started reading a couple of weeks ago. Have been enjoying the book, film diverges quite a bit at points I've read. Was wondering if i would want to be continuing to read the book after having seen the film, assume it is quite different though.
Film looks good anyway.

Stevolende, Tuesday, 9 April 2019 12:14 (one week ago) Permalink

Light (Tsai, 2018) 6/10
Autumn Days (Tsai, 2016) 5/10
Afternoon (Tsai, 2015) 7/10
The Deserted (Tsai, 2017) 7/10

― devvvine, 9. april 2019 12:43 (one hour ago) Bookmark Flag Post Permalink

I need a lot more info on these. Pleasepleaseplease... Saw You Face a couple of weeks ago, found it quite good but I can't stop wishing Tsai would make something as big as Stray Dogs again. Film of the decade, quite often.

Frederik B, Tuesday, 9 April 2019 12:32 (one week ago) Permalink

will caveat this and say i've not seen any other tsai, so can't really speak to proper narrative features beyond dragon inn

Light (Tsai, 2018) 6/10 - the compostition of this is beautiful and tsai's reverence for the hall shines through, but think it works best as context / a companion to 'your face'.

Autumn Days (Tsai, 2016) 5/10 - i liked this but it didn't leave much of an impact, mostly a black screen with a recording of a casual conversation in a cafe with nogami teruyo - about translation/adaptation/what she likes about tsai's work, broken up some with a couple pieces of footage; the first: portraiture, a la your face, the second: alongside lee kang-sheng.

Afternoon (Tsai, 2015) 7/10 - this is really good, sweet and fascinating dive into tsai and lee's relationship. little disconcerting how close to death he thinks he is (he was around most of the weekend and seemed like the most content, healthy man alive)

The Deserted (Tsai, 2017) 7/10 - not sure this has as much depth as some of the stuff i saw at the weekend but this still kinda blew me away; the novelty of vr probably a factor. he does make use of the 360 degrees in a couple of breathtaking ways while retaining a sort of central framing for the most part. there's a central scene as a typhoon comes in, as other stuff happens in the room in front of you. that is astonishing.

wrote a little about the weekend/masterclass on the tsai thread

Recommend some Tsai Ming-Liang

devvvine, Tuesday, 9 April 2019 13:06 (one week ago) Permalink

Oh, right, The Deserted is the VR thing? He is making so much stuff, it seems. Is the hall in Light the same one as in Your Face?

Frederik B, Tuesday, 9 April 2019 14:18 (one week ago) Permalink

deserted is very much vr and yes, same hall! about the same age as the elderly interviewees in 'your face', used to be common for people to go watch films there and also tsai ran a cafe there

devvvine, Tuesday, 9 April 2019 14:23 (one week ago) Permalink

I can't stop wishing Tsai would make something as big as Stray Dogs again

this seems unlikely in the near future, given how enthused he is about making works primarily for galleries atm. but said nothing that would explicitly rule a large project out; talked a great deal about the stray dogs exhibition he put on in taipei.

devvvine, Tuesday, 9 April 2019 14:29 (one week ago) Permalink

Starting to come around to the idea that Straw Dogs is his greatest work.

zama roma ding dong (Eric H.), Tuesday, 9 April 2019 15:01 (one week ago) Permalink

lol, Stray Dogs...

zama roma ding dong (Eric H.), Tuesday, 9 April 2019 15:02 (one week ago) Permalink

(Before I forget: re shit subtitles for Knife In The Water busted upthread, I saw it with good subs in a 70s theater; maybe that edition is still around somewhere)(no clue how true those 70s subtitles were to the spoken, but the whole thing was effective.)
Red Dust (Fleming, 1932): Harlow is a harlot on the lam but she ain't no sheep; Gable is useful to in several ways, while operating a rubber plantation way up the river from "Say-gon," as all the white people call it, with Gable and his fellow Men agreeing that you gotta watch the "coolies." Then Gene Raymond, an old friend of Gabe's, a little eager beaver who's talked his way into a job on Gabe's old home place and can't shut up, shows up with his blushing bride, omg Mary Astor, a classical poster child (Harlow calls her "the Duchess"), horny and picky and understandably flustered by this place and the whole situation---Hubby promptly catches jungle fever and there's no doctor and he won't stay the fuck in bed, he's gotta go work and prove himself.
All of these people have been programmed to prove themselves, and are becoming aware of it---except Jean Ho apparently found it a given long ago; in any case, she's practical about living each moment as enjoyably as possible, incl. call other people on BS when it gets too tiresome (although delivering sermons would be at least as tiresome).
Implications of the ending are satisfying enough to spin your own sequel.
6/10, docked a couple of points for pro forma racism, speaking of whoring.
Jean Harlow's husband, MGM executive Paul Bern, committed suicide midway through filming (some biographies suggest he was murdered and the studio covered it up) and MGM mogul Louis B. Mayer, fearing a scandal, appealed to Tallulah Bankhead to step into Harlow's role. She refused out of respect for Harlow and the blonde bombshell was soon back on the set, though considerably subdued. During her first day back at work, Fleming reportedly said to Mary Astor, "how are we going to get a sexy performance with that look in her eyes?" But Harlow proved herself the ultimate trooper...
Co-star Gene Raymond agreed it was a difficult picture to shoot and said, "...the whole thing was done at MGM. Stage 6 was now a jungle with a hut in it, and it stank to high heaven. The rain would seep in and all of a sudden you had mud. Then they put the hot lights on and it steamed up. So it was not a pleasant picture; it was hard for everybody, especially the crew." Regardless of the hardships, Red Dust was a hit and would later inspire a remake - Mogambo (1954) - directed by John Ford and with Gable repeating his original role opposite Ava Gardner (in the Harlow part) and Grace Kelly (in the Astor role).

A final bit of trivia: Jean Harlow would later marry Harold "Hal" Rosson, the cinematographer on Red Dust. Thanks, TCM!

dow, Friday, 12 April 2019 01:47 (six days ago) Permalink

her monologue on cheese makes it at least 8/10

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Friday, 12 April 2019 01:52 (six days ago) Permalink

don't know which subtitles I saw it with, but I loved Knife in the Water

Dan S, Friday, 12 April 2019 01:56 (six days ago) Permalink

xpost She's great---also from TCM: When Time Magazine covered the film, the reviewer wrote: "The best lines go to Harlow. She bathes hilariously in a rain barrel and reads Gable a bedtime story about a chipmunk and a rabbit. ("Say I wonder how this comes out?" her character wisecracks). Her effortless vulgarity, humor, and slovenliness make a noteworthy characterization, as good in the genre as the late Jeanne Eagels' Sadie Thompson." Gable: "People have to drink that!"

dow, Friday, 12 April 2019 01:59 (six days ago) Permalink

he's her straight man, and perfectly so (he's Astor's too, in a weirder, Astory-as-hell way).

dow, Friday, 12 April 2019 02:04 (six days ago) Permalink

I don't normally like or endorse movies about children, but COP CAR is a fun way to spend 85 minutes.

grawlix (unperson), Sunday, 14 April 2019 03:20 (four days ago) Permalink

The Birthday Party (Friedkin, 1968)- baby's first Pinter; I've been wanting to dive in for like...Jesus, 20 years at this point, but never got around to picking up any of the readily available complete works, or tracking down any of the Losey movies, or etc. That's going to change; I've started tracking down anything else I can because this just ruined me for a day.

Lost in La Mancha (Fulton & Pepe, 2002)- another one from the "too depressed to watch for 10+ years" pile. Makes the business of 1st AD gripping and terrifying and for all its flaws (see below) at least makes me glad Adam Driver stepped in to fill the Johnny Depp part

*Towers Open Fire / The Cut Ups (Balch, 1963, 1966)- I'd seen these years ago at the Whitney's Brion Gysin exhibit; the former is a loose sort of Burroughs sci-fi routine in film form, and the latter a demonstration of the titular technique with Gysin, dreamachines, Ian Somerville, etc.

The Man Who Killed Don Quixote (Gilliam, 2018)- wanted to love it, I think I at least liked it; it's the best film he's made since Fear & Loathing, which is not a particularly impressive claim. Still has no idea what to do with women; kind of tiresomely self-aware re: Gilliam's own enfant terrible schtick without necessarily any real reflection on the subject; but at least it's often successfully funny

Secrets of Sex/Bizarre (Balch, 1970)- absolutely bugshit anthology film of shaggy dog stories loosely tied together by sex; weirdly prim, very British, shades of early Scientology in places, a Burroughsian twist in the last story, and one segment that will stick with me long after I've forgotten the rest of it (with the unforgettable line "Oh! My contact lens has dropped amongst your charms")

*The Long Goodbye (Altman, 1973)- perfect film will not be taking arguments at this time

Horror Hospital (Balch, 1973)- Michael Gough; weirdly anticipates the Rocky Horror Picture Show but drawing more on Hammer/Amicus productions of the very recent past for camp value instead of classic Hollywood. Fun, stupid.

You guys are caterpillar (Telephone thing), Sunday, 14 April 2019 05:41 (four days ago) Permalink

The Octopus (Painlevé, 1927)
Hyas and Stenorhynchus (Painlevé, 1927)
Wise Girls (Hopper, 1929)
*Bright Eyes (Del Ruth & St. Clair, 1921)
*Thundering Fleas (McGowan, 1926)
The Best Man (Edwards, 1928)
Stickleback Eggs (Painlevé, 1925)
The Clairvoyant (Elvey, 1935)
Feel My Pulse (La Cava, 1928)
Bare Knees (Kenton, 1928)
The Texan (Cromwell, 1930)
The Border Legion (Brower & Knopf, 1930)
Us (Peele, 2019)
Shazam! (Sandberg, 2019)

Anne Hedonia (j.lu), Sunday, 14 April 2019 23:17 (four days ago) Permalink

*The Beaches of Agnès (2008, Varda) 9/10
Portrait of a Young Man in Three Movements (1931, Rodakiewicz) 6/10
Road to Life (1931, Ekk) 7/10
Panelstory or Birth of a Community (1981, Chytilova) 7/10
The Ghost Ship (1943, Robson) 7/10
*The Leopard Man (1943, Tourneur) 8/10
Juha (1999, Kaurismaki) 8/10
Something Different (1963, Chytilova) 8/10
*Nenette and Boni (1996, 7/10)
No Fear, No Die (1990, Denis) 9/10
Drifting Clouds (1996, Kaurismaki) 8/10
Tea and Sympathy (1956, Minnelli) 7/10
Take Care of Your Scarf, Tatiana (1994, Kaurismaki) 7/10
Claire Denis, The Vagabond (1996, Lifshitz) 8/10
U.S. Go Home (1994, Denis) 9/10
*Manila in the Claws of Light (1975, Brocka) 8/10

a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Monday, 15 April 2019 11:49 (three days ago) Permalink

Spotlight (7.0)
Leaving Neverland (7.5)
The Grey Fox (8.0)
The Mean Season (5.5)
Greta (5.0)
Wall Street: Money Never Sleeps (7.0)
Catwalk (7.5)
The X Files (6.5)
On the Waterfront (10.0)
The Hummingbird Project (6.5)

clemenza, Tuesday, 16 April 2019 03:54 (two days ago) Permalink


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